Stage Combat Resource Materials: A Selected and Annotated Bibliography (Bibliographies and Indexes in the Performing Arts) [annotated edition] 0313307105, 9780313307102, 9780313089053

Citation preview

STAGE COMBAT RESOURCE MATERIALS: A Selected and Annotated Bibliography

Michael Kirkland

PRAEGER

STAGE COMBAT RESOURCE MATERIALS

Recent Titles in Bibliographies and Indexes in the Performing Arts Theatre at Stratford-upon-Avon, First Supplement: A Catalogue-Index to Productions of the Royal Shakespeare Company, 1979-1993 Michael Mullin A Guide to American Crime Films of the Thirties Larry Langman and Daniel Finn An Index to Short and Feature Film Reviews in the Moving Picture World: The Early Years, 1907-1915 Annette M. D'Agostino, compiler A Guide to American Crime Films of the Forties and Fifties Larry Langman and Daniel Finn Theatrical Design in the Twentieth Century: An Index to Photographic Reproductions of Scenic Designs W Patrick Atkinson American Film Cycles: The Silent Era Larry Langman A Guide to Charlie Chan Films Charles P. Mitchell Productions of the Irish Theatre Movement, 1899-1916: A Checklist Nelson O'Ceallaigh Ritschel The Complete H. P. Lovecraft Filmography Charles P. Mitchell Hollywood's Image of the South: A Century of Southern Films Larry Langman and David Ebner, compilers The Broadway Design Roster: Designers and Thei r Credits Bobbi Owen Latin American Dramatists since 1945: A Bio-Bibliographical Guide Tony A. Harvell

STAGE COMBAT RESOURCE MATERIALS A Selected and Annotated Bibliography Michael Kirkland

Bibliographies and Indexes in the Performing Arts, Number 29 Westport, Connecticut London

Library of Congress Cataloging-in-Publication Data Kirkland, J. Michael, 1943Stage combat resource materials: a selected and annotated bibliography I Michael Kirkland. p. cm. - (Bibliographies and indexes in the performing atts, ISSN 0742--{)933 ; no. 29) Includes bibliographical references and index. ISBN 0-3 13- 30710-5 (alk. paper) l. Stage fighting- Bibliography. 2. Combat- Bibliography. I. Title. Z5784.S78K57 2006 [PN207 J. F5] 016.79202'8-dc22 2006021038 British Library Cataloguing in Publication Data is avai lable. Copyright © 2006 by Michael Kirkland All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006021038 ISBN: 0-313- 30710-5 ISSN: 0742--{)933 First published in 2006 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48- 1984). 10

9

8

7

6

5

4

3

2

For Candi; vous et nul autre.

CONTENTS Acknowledgments

ix

Introduction

xi

I.

A Brief History of Arms, Armor, and Combat

2.

Books

3.

Articles

205

4.

Videos

233

5.

Conclusion

261

31

Appendixes A. Glossary

265

B.

283

Selected Feature Films

C. Suppliers of Period Stage Weapons and Accoutrements

299

D. Selected Publishers, Distributors, and Periodicals

303

E.

Books, Articles, and Video Titles by Category and Historical Period

307

Selected Bibliography

335

Index

339

ACKNOWLEDGMENTS I offer my sincere gratitude to those whose efforts significantly contributed to the realization of this project. Special thanks are also in order to those members of the Society of American Fight Directors, the British Academy of Stage and Screen Combat, and the British Academy of Dramatic Combat who responded to my various inquiries, including J. R. Beardsley, Drew Fracher, David Boushey, Joseph Martinez, Erik Fredricksen, Richard Ryan, Henry Marshall, Derek Ware, and Jonathan Howell. I also thank J. Allen Suddeth and his lovely wife, Grace, for opening their home and Allen's personal library to me during the summer of 1991. It was there that inspiration took root and the project was conceptualized. Indeed, it was some of Fight Master Suddeth's personal library holdings that furnished some of this bibliography's earliest annotations. Thanks are also due to British colleague Jonathan Howell for his aid in forwarding information that facilitated creating the appendix on feature films . My appreciation is also extended to Dr. Marilyn Holt, formerly of the University of Utah, who advised and counseled me so carefully during the project's early stages. Any attempt to articulate my thanks to Dr. Holt cannot hope to reflect the true depth of my gratitude. I also thank Ms. Barbara Bienkowski and the reference staff at the Rosenberg Library in Galveston, Texas, who were so helpful in arranging countless inter-library loans . Additional thanks are due to Dr. Ron Hubbard and Ms. Linda McCollum for their moral support and suggestions along the way. Special indebtedness is due to Michael Berberich, Galveston College English teacher extraordinaire, for serving as an early editor of the text. My thanks also go out to Ms. Sharon Young of the Department of Information and Technology at Kutztown University for some very adept reformatting of the text. I am also grateful to Mrs. Myrtis James, her late husband, John, and Mrs. Doris Barnes for financial and transportational support during the early stages of the project. I would also like to remark upon my profound indebtedness to the late Dr. David Jones, formerly of the University of Utah Theatre Department. Dr. Jones encouraged me to continue to embrace the practical side of theatre even while training to become a scholar of it. More important, Dr. Jones, who in my estimation personified the ideal of the

x

Acknowledgments

gentleman-scholar, encouraged me to follow my passions, my dreams, and above all- to do my own thinking. Finally, I must attempt to express the inexpressible, my undying gratitude to my lifelong partner and wife, Candious, who has been a well-spring of encouragement and support from the beginning. From high school to graduate school; from Hollywood to Virginia- she has always been an inspiration.

INTRODUCTION In the Introduction to his Schools and Masters of Fence (1885), Egerton Castle insightfully informs us: Actors also, who, in every other case, are most particular about historical accuracy, generally dispose of all questions relative to fighting by referring them to the first fencing master at hand; and accordingly one sees Laertes and Hamlet with the utmost sangfroid going through a "salute" which, besides being unmanageable with rapiers, was only established in all its details some fifty years ago. There would indeed be less anachronism in uncorking a bottle of champagne to fill the king's beaker than there is in Hamlet correctly lunging, reversing his point, saluting carte and tierce, & c.-foil fencing, in fact-in spite of the anticipation raised by Osric's announcement that the bout should be played with rapier and dagger. (4) Mr. Castle, in the quotation above, quite correctly suggests that the local competitive fencing coach may not be the most qualified person to stage a historically accurate piece of combat for the stage. In doing so he offers one of the more eloquent arguments that could be put forth in support of this annotated bibliography. Castle appears to be proclaiming the need for a person who is equally qualified as fencing coach, antiquarian, and artist of the theatre; in fact, the specialist we now recognize as the fight director. The primary purpose of this study is the compilation and description of resources useful to the fight director in the creation of aesthetically pleasing and safe combat for the stage and screen (the term "screen" being a reference to both cinema and television).

Xli

Introduction

Mr. Castle's tome typifies the kind of resource useful to a variety of artists of the stage and screen involved in the creation of scenes of violence, be they historically accurate or not. It is, therefore, altogether fitting Castle 's book not only appears in the body of this work but, indeed, lends support to the thesis at the heart of its conception. Schools and Masters of Fence is, first and foremost, a book about the evolution of fencing. However, in undertaking his examination of the art of fence , Mr. Castle has uncovered an abundance of information useful to fight directors, actors, directors, dramaturgs, costumers, and makers of stage weapomy. In producing this bibliography, it has been my intent to provide a guide to aid primarily, fight directors, teachers of stage combat, and weaponsmakers in their efforts to locate and obtain pertinent resource materials to inform their work. However, directors, actor-combatants, armorers, dramaturgs, and costumers will also find many of these resources of significant value. The reader should please note I will be annotating available resource materials. It is my contention that most fight directors have neither the resources nor the time to travel to the Folger Library in Washington, D.C. (or a comparable institution) to peruse such primary resources as the original sixteenth, seventeenth, and eighteenth century manuscripts on fencing by such seminal authors as Talhoffer, Marozzo, Saviolo, Di Grassi, Fabris, Sainct Didier, Angelo, et al.; even if said fight directors were capable of deciphering the archaic English, Italian, German, or French in which these manuscripts were originally penned. Similarly, it is virtually assured that the average fight director's local public library will be unable to coerce the Folger Library to loan the aforementioned primary resources. Therefore, it is my belief most American, British, and English-speaking Canadian fight directors and teachers of stage combat will be most interested in resources that are currently in circulation and written in English. It is around such resources I have organized this bibliography. The scope of this effort has been extensive, though hardly exhaustive. It would take more than a dozen lifetimes' efforts to track down all combat references in print useful to those who stage combat for the stage and screen. After all, whether a resource is "useful" or not is, decidedly, a subjective evaluation. The decision as to the utility of a resource, though ultimately left to Though I have been my discretion, has not gone without scrutiny. choreographing fights for the stage and teaching stage combat for the last twenty-five years, I still have sought input from several recognized and reputable experts in the field. Included in this list of experts are several of the Fight Masters of the Society of American Fight Directors, as well as some of their equally qualified British colleagues. I turned to these experts in an effort to determine which resources to pursue for annotation as well how they utilize historical and contemporaneous resources to inform their work. Obviously, space limitations restrict me from taking a liberal approach to inclusion and I have labored to include those texts I believe to be of most value. Naturally, that has meant passing over weaker resources whose primary focus may even have been stage combat as opposed to real combat.

Introduction

Xlll

In annotating resources, I have chosen to include only those I believe to be useful in staging combat styles through the end of the eighteenth century. My reasoning, for what might first appear to be a somewhat arbitrary cut-off date, is practical enough-it is at this point firearms take over as the preferred weapon of both the battlefield and the field of honor. Therefore, the annotations of publications and the information offered in the appendices of this study will focus on cut and thrust weapons and unarmed fighting techniques in the Western European tradition through A.D. 1799. I have purposely avoided entering into the field of Asian, or so-called "oriental," weaponry and fighting techniques as I believe that topic worthy of a detailed study in and of itself-just as one in firearms would be equally useful. Inevitably, there are instances when the line between Eastern and Western cultures becomes somewhat blurred. For example, in various annotations one will find multiple references to the Mongol Hordes and the sweeping armies of Islam. These Eastern, and Middle Eastern, armies came into significant conflict with Western European warriors and knights. Many of the publications that examine Ghengis Khan and Saladin cannot do so without peripherally imparting valuable information about the warriors and combatants with whom they struggled in battle. However, the weapons and fighting techniques of the samurai warrior and ninja assassin are best left to a study that focuses not only on Asian fighting techniques, but perhaps Asian theatrical traditions and Asian stage combat technique as well. It is important the reader understands that the fighting styles focused on in this study terminate in 1799; however, that does not mean the resources included and annotated were published before 1799. On the contrary, most of the publications annotated will bear a publication date that significantly postdates 1799. The only prerequisite for inclusion was that the publication offer some insight or knowledge useful to the staging of fighting styles or the construction of weapons which predate 1800; or offer information on the training of actor-combatants in those styles; or be helpful to those listed above in their efforts to more completely understand the social milieu, the weaponry, the dueling etiquette, or the rules of combat for the period beginning with prehistory and ending 1800. HOW TO USE THIS BOOK

Chapter 1 briefly examines the evolution of arms, armor, and personal combat from prehistory through A.D . 1799. The primary purpose of this first chapter is to offer the reader historical context for the material presented in the bibliography proper. Chapters 2, 3, and 4 consist of annotations of various publications including books, articles, and video resources. Finally, Chapter 5 presents some concluding remarks on what this bibliography and similar projects might have to offer practitioners. Each of the bibliographic annotations is placed in alphabetical order according to the author's last name and numbered. Entered immediately after each bibliographical entry are "code letters" designating which historical periods, weapons, or fighting styles are covered in that publication. It should be stressed at the outset that the assignation of dates

xiv

Introduction

to the following periods can, at best, only be approximated. It often took as long as a century for new smithing practices or weapons-making techniques to spread throughout Europe. Therefore we do not see, for example, the simultaneous appearance of iron in Italy and England; or the rapier emerging simultaneously in Spain and Denmark. The best that can be offered is an approximation of the dates of these developments; an approximation that attempts, to one degree or another, to determine a relative "center." Therefore, if the reader will allow for these approximations it will greatly facilitate the use of this bibliography. Similarly, it should be noted that there might be significant overlapping from one period to the next. With this caveat in mind, the letter codes are: "S" "B" "I" "D" "V" "M" "R" "T" "E" "U" "H"

for Stone Age (Prehistory through 3,000 B.C.) for Bronze Age (3,000 B.c. through 500 B.C.) for Iron Age (1,200 B.c. through AD. 500) for the Dark Ages (AD. 500 through AD. 900) for the Viking Age (AD . 800 through A.D. 1l00) for the Middle Ages or the "medieval" period (AD. 1100 through AD. 1500) for the Renaissance (AD. 1400 through AD. 1600) for the Transition period from the rapier into the small-sword (A.D. 1600 through A.D. 1725) for the eighteenth century (AD. 1700 through A.D. 1799) for Unarmed techniques for "How-To" publications

In this final category ("H") would fall many of the books, articles, and videos offering instruction on modem fencing technique, modem hand-tohand/unarmed combat techniques (which for the purposes of this study are considered to be timeless, as the fist has been used as a weapon from time immemorial), and publications that do not fit comfortably under any particular combat style or period. For example, modem fencing books can be used as a resource for stage combat instructors teaching theatrical fencing for the Renaissance, Transition period, and the eighteenth century. Frequently, exercises and drills appear in these publications that, with a little effort and imagination, can be adjusted to the needs of a stage combat class. Similar examples include books on boxing, self-defense, and police hand-to-hand combat tactics. These publications might offer insights into the staging of an unarmed altercation. Throughout the text I have sought to offer as much bibliographic information as possible so as to allow the reader to pursue a title should they wish to do so. Therefore, most annotations begin with the ISBN and/or the LCCN; universally accepted abbreviations for International Standard Book Number and Library of Congress Catalogue Number, respectively. Armed with such information, one is now ready to begin the search for useful resource materials. The text also includes several appendices offered as supplementary resources for the reader. Appendix A offers an extensive glossary of arms, armor, and stage combat terminology. It is intended that this appendix will aid

Introduction

xv

those who come across terms in the annotations, appendices, and publications they are unfamiliar with. Appendix 8 offers a substantial list of feature films that might be viewed for inspiration regarding costuming, weapon selection, and choreographic style. Appendix C is designed to aid those who are in need of aesthetically pleasing, yet safe and sturdy stage weapons and accoutrements. Appendix D offers information on periodicals, publishers, and distributors of materials useful to those involved in stage combat. This appendix will be especially useful for those who wish to pursue additional articles and publications beyond those contained in this study (for example, The Fight Master: Journal of the Society of American Fight Directors, which consists entirely of articles germane to the subject); or would like to receive catalogues from publishers or bookstores that specialize in publications on military history and personal combat as new publications are released, to inform their work. Appendix E categorizes annotations found in Chapters 2, 3, and 4. The underlying assumption in supplying this appendix is that if a reader is interested in researching a specific period or fighting style, it will be appreciated if separate annotations have been grouped under specific headings that reflect that particular historical period, fighting style, or category. This appendix also supplies the page number upon which any particular entry may be found in the bibliographic sections of the text. With the advent of the internet, there are now hundreds of sites that the researcher may turn to for information on historical fencers, stage combat, weaponry, etc. I have purposely avoided including internet sites in this study for two very basic reasons. First, the inception of the internet search engine has made it a simple matter for virtually anyone to do their own on-line research for useful resources. Second, these sites come and go very quickly--without warning. I might also add that the quality of the information these sites afford can and do vary radically. There is simply no gate-keeper. It is my intent that in this single volume I have compiled a guide to a significant number of stage combat resources that are both useful and available. It should be emphasized that if the reader has access to a library that is linked to the On-Line Computer Library Center (OCLC), virtually all of the books and articles listed in this study can be located and borrowed. All of the video annotations include information on various distributors who offer tapes and DVDs for purchase. Perhaps, the most supportive statement I can offer the reader is that virtually all of the published resources in this study, with a little effort, are obtainable.

CHAPTERl A BRIEF HISTORY OF ARMS, ARMOR, AND COMBAT The scope of this study begins with the Stone Age and continues through the end of the eighteenth century. Therefore it seems fitting our examination of the evolution of weapons and methods of personal combat begin with a scrutiny of prehistoric human beings and the weapons they utilized. Early humans were certainly no match for many of the predators they had to face on a daily basis. The members of the animal world were much better equipped for survival, having been supplied with natural weapons and defenses such as claws, beaks, venom, teeth, the ability to take flight in the air, or to flee with great speed on the ground. The primary advantage of humankind was the ability to think and to reason. Humans used their wits to design and construct arms for offensive and defensive purposes. To begin with they made use of objects found in their immediate environment. 1 Early humans quickly discovered that a dead tree branch of significant weight could serve as a formidable cudgel. Similarly, stones, thrown 1. In his The Story of Man (New York: Alfred A. Knopf, 1955), Carleton S. Coon makes ironic note of the fact that though the remains of actual ancient human beings are often difficult to find, ancient artifacts frequently are not: Although man's early bones are scarce, the product of his handiwork is abundant. His basic cutting tools, made of pebbles, quartzite, fossil-wood, and flint, run into the millions. (43) It was most certainly the invention of the "cutting tool" which subsequently led to the development of weapons that could be used for hunting or warfare. Mr. Coon gives us some insight into the types of materials early humans may have utilized for both tool and weapon.

2

Stage Combat Resource Materials

with enough velocity, could inflict terrible damage to both animal and human. Those stones, when held in the hand and brought down upon the skull of an animal or enemy, could also inflict debilitating damage. Early humans soon discovered that sticks, sharpened and honed to a fine point, could be thrust into the bodies of animals and enemies. From these early beginnings an evolution occurred. Early humans began not only to sharpen the stick, but to heat the point in a fire to harden it. From this innovation it was but a small step to attach a sharp rock to the end of the stick, and thus was born the spear. Similarly, a hand-sized rock could be attached to a shorter stick and a hand-axe or bludgeoning instrument might be constructed. These weapons could either be thrown or held in the hand. Small, sharp stones were also attached to the ends of light reeds and branches, forming crude arrows, which were then shot with relatively high velocity from bows. In either case, techniques for using these primitive weapons to their best advantage began to be formulated. Surprisingly, the Stone Age produced more weapons than one might initially suspect, especially when one considers that the most suitable medium for weapons production was the less than malleable rock. Flint was one of the more suitable materials available. A piece of flint could be chipped (a process known as "knapping") until the required shape had been produced. However, flint was not particularly well suited for making long-bladed weapons, such as swords, for several reasons. First, such a large piece of flint would be difficult to obtain. Second, such a lengthy and thick piece of flint would be too heavy and unwieldy to use in battle. Finally, if flint was struck against another piece of flint or rock it was liable to chip or shatter into dozens of small pieces. Obsidian2 tended to hold a slightly sharper edge than flint, but did not offer the resiliency. Obsidian made for resourceful scrapers and arrowheads, while flint proved an excellent source for knife blades, spearheads, hatchet blades, and arrowheads as well. Early humans did not have the technology or the materials with which to produce consistently effective body armor. Animal skins and tanned hides were worn for protection from the elements as much as from enemy warriors. As humankind's intellect and experience at warfare increased, crude shields of wood and animal skin were developed for protection against animal predators and human enemies. As weapons were not particularly sophisticated, a crude shield was, in many cases, probably able to withstand the onslaught of an enemy's spears or arrows. Shields were often reinforced with an animal hide stretched over the wooden facing and used to deflect stones, spears, and arrows. 2. Flint is the material which one finds most commonly referred to in discussions on the tools and weapons of early man. While found more frequently in the Western Hemisphere, obsidian was also used in the Old World. This glass-like rock formed from lava could be chipped to a razor's edge. Obsidian is most frequently associated with Mexico and Central America. Indeed, the Conquistadors saw first hand what damage could be inflicted by an Aztec warrior who had wedged chips of obsidian along the edge of a wooden sword.

A Brief History of Arms, Armor, and Combat

3

Not surprisingly, there were significant advances in technology and the crafting of weapons during the Bronze Age. Whereas the Stone Age had produced many weapons but little in the way of armor, the Bronze Age witnessed significant developments in the area of armor designed to protect the body from injury. Bronze, an alloy of copper and tin (approximately 90 percent copper and 10 percent tin), began to be smelted and worked in the Near East around 3500 B.C. This innovation precipitated a profound leap in the development of body armor and ushered in an era in which the production of arms and armor was elevated to an art form-an art form that continues to evolve to this day. Weapons makers had, for eons, been hampered by the relative fragility of flint. It could hold an edge, but once a flint blade broke it was useless. Weapons makers were now free to attempt new designs which had never been possible when working with stone. They could now utilize metal casting methods to produce a dizzying variety of new blades, arrowheads, spearheads, and various other bladed weapons. More than this, however, armorers could now produce helmets and body armor. Copper, without the addition of tin, is a relatively soft metal; and was not ideal for producing blades, as it had to be cast very thick. Even when cast thick, copper did not maintain a sharp edge well. However, its soft quality made it an ideal material from which to produce helmets and body armor. These protective pieces could be molded and then hammered out by craftsmen to fit specific individuals. Finally, depending upon the artistry of the craftsman and the wealth of the person commissioning the armor, these pieces could be etched, damascened, encrusted with jewels, enameled, or even inlaid with precious metals and jewels. Naturally, the development of body armor had a revolutionary impact on the way in which combatants fought. They could now depend more heavily upon their armor to protect them against the weapons of their enemies. This new protective armor, when used in tandem with the shield, gave the warrior a degree of protection never experienced before. At this time it was virtually unheard of to utilize the weapon for anything but offense. The weapon was to be used for the attack while body armor and the shield were relied upon for protection. It would not be until the early years of the seventeenth century that fencing masters would determine that the sword could be used for both offense and defense. The Bronze Age encompasses the period which the great Greek poet Homer (circa 800-700 B.C.) writes of in his Iliad-the Late Mycenaean period (approximately 1200-1100 B.c.).3 His descriptive passages of battles, duels, and contests waged by such fictional Grecian and Trojan warriors as Achilles, Ajax, Hector, and Odysseus and the armor and weapons he describes may offer 3. 1. Buchanan-Brown, ed., Cassell's Encyclopedia of World Literature (New York: William Morrow, 1973), 681. Though Cassell's places Homer's birth during the seventh or eighth century B. c., the exact year of birth and the inclusive dates of the composition of the Iliad and the Odyssey remain a mystery. There appears to be more consensus among scholars regarding the time period depicted by Homer in the Iliad, approximately 1200-1100 B.C.

4

Stage Combat Resource Materials

us some insight into things military during the late Grecian Bronze Age. However, it must be remembered that Homer is writing fiction about an era which occurred possibly four or five centuries before his time. Nevertheless, in examining Homer's works we can acquire, perhaps, some insight into the armor and weapons of his own day. The heavy use of bronze by the ancient Greeks (and it should be mentioned that there were several different city-states, virtually no cooperation amongst them, and each convinced of the unmitigated barbarism of the others) lasted well past the age of the Persian Wars (490 and 480 B.C.), the Peloponnesian War (431-404 B.C.),4 and even into the era of Alexander the Great (circa 356-323 B.C.).5 Harold Peake and Herbert John Fieure, authors of The Horse and the Sword (1933), have the following to offer regarding the preClassical, or what is often loosely referred to as the "Heroic," Greek warrior: The equipment for battle was varied. Some used an enormous shield of flexible leather, made more rigid by a bronze rim; this was attached over the left shoulder so as to hang before the body, leaving both arms free to use a great thrust spear. Sometimes the warriors carried two lighter spears, and, when these had been cast, rushed in with bronze swords, sometimes the long thrusting dirk and at others the leaf-shaped slashing sword. Other warriors were clad in bronze helmets and greaves, carrying on their left arms round parrying shields; these used a single thrusting spear. In other cases the men wore body armour of padded linen covered with bronze plates. It is clear that the battle equipment was as varied as the origin of the men who wore it, and had not yet become standardized. One thing, however, is undoubted; the great majority of the arms used were of bronze, and the use of iron, which had been known for nearly two centuries among the Hittites, had not become general... 6 There appears to have been virtually no uniformity of weapons, armor, uniforms, or tactics amongst the ancient Greeks until well into the Iron Age. It would not be until after the Spartans defeated Athens in the Peloponnesian War that many of the Greek states would begin to emulate the Spartan uniform and adopt Spartan battle tactics. Nicholas Sekunda, in his The Ancient Greeks (1986), explores several of the Greek armies of the Classical Period,

4. John Warry, Alexander: 334-323 B.C., Campaign Series, (London: Osprey Publishing, Ltd., 1991), 6.

5. Nick Secunda and Angus McBride, The Army ofAlexander the Great, Menat-Arms Series, (London: Osprey Publishing, Ltd., 1984), 5-6. 6. Harold Peake and Herbert John Fleure, The Horse and the Sword (New Haven: Yale University Press, 1933),53.

A Brief History of Arms, Armor, and Combat

5

.. .in the Archaic period, which preceded the Classical, Greek warriors simply wore what they wanted, and military uniform was unknown. During the Classical Period, however, the state began to play an increasingly important role in military organisation ...Regional differences in dress and weaponry also played their part in this process. So did periodic fads in military fashion, seen most clearly in the widespread adoption of Lakonian styles of military dress by Sparta's allies during her period of supremacy. It does not seem that the majority of Greek armies entered the Pe1oponnesian War in uniform, but the situation changed dramatically by the end of the war. By the middle of the 4th century uniform had become general. 7 The Greek hoplite (or "shield carrier") tended to wage battle, along with his fellow warriors, in what was called a phalanx-a large square, bristling with javelins and moving en masse to meet the enemy. Its success lay primarily in its use of long spears and the sheer number of soldiers. Although swords, daggers, spears, and armor had developed to a relatively sophisticated degree during the Bronze Age, a more significant development in the evolution of weapons was yet to come-the innovation of iron smelting and forging. This was a profound discovery which significantly improved both the quality and range of weapons which could now be produced for combat.. At first the quality of iron being produced was quite low-grade but, even so, was far superior to bronze in its ability to maintain a sharp edge and withstand the abuse of battle. As forging and smithing techniques improved, the quality of iron and weapons produced improved as well. Noted antique arms and armor expert, Robert Wilkinson-Latham, offers the following insights into the appearance of iron and its impact on arms and armor in his Phaidon Guide to Antique Weapons and Armour (1981) : For weapons the most significant step forward was the discovery of iron smelting and forging with all its infinite capabilities, and the spread of the knowledge west from Anatolia, from about 1200 B.c. At last sword blades could be made of a suitable length, arrowheads instead of being flint could now be in iron (copper was too valuable for such an item with such a short life) and helmets and armour could be, if not so decorative, more practical and more effective. 8

7. Nicholas Victor Sekunda and Angus McBride, The Ancient Greeks, Elite Series, (London: Osprey Publishing, Ltd., 1986),3. 8. Robert Wilkinson-Latham, Phaidon Guide to Antique Weapons and Armour (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1981), 9.

6

Stage Combat Resource Materials

Wilkinson-Latham places the spread of iron at or around 1200 B.C. However, Terence Wise, in his Ancient Armies ofthe Middle East (1993), suggests that the Hittites may have discovered the process as much as two hundred years before its general dispersal throughout the region. This advantage only fueled the Hittites explosive expansion in the Middle East, an expansion which had already begun around 1579 B.C. With their iron swords and armor the Hittites conquered Syria, Palestine, the kingdom of Mitanni, and essentially brought the preeminent nation in the region, Egypt, into a stalemate position. Terrence Wise describes the Hittite expansion in the previously mentioned Ancient Armies of the Middle East (1993) , This fantastic growth, despite an unexpectedly sturdy resistance by the Egyptian Empire, owed much to the Hittites' use of iron weapons. Iron tools and weapons had been known in Egypt and Mesopotamia since at least 2700 B.C. (the Sumerians called iron 'metal from heaven', i.e. in meteoric form), but such items were costly and difficult to produce in quantity. However, sometime around 1400 B.C. the Hittites, or a vassal tribe within their empire, discovered a process for producing good quality iron in bulk. The process was kept secret by the Hittites, enabling them to gain an immense advantage over their enemies, who were still using bronze weapons. 9 It would not be until the Hittites faced a burgeoning Assyrian Empire that their expansion would falter and the Hittite kingdom would begin its inevitable disintegration and, finally, assimilation by the Assyrian's in the eighth century B.C. Well after the introduction of iron (and beyond the completion of the Peloponnesian War), most of the Grecian armies continued to make liberal use of bronze in their weapons and armor. Their swords may have been made of iron, but their helmets, breast plates, greaves frequently continued to be made of bronze; their linen corselets layered with bronze plates. It would not be the Greeks who would go on to perfect the production of iron and profit from it on the battlefield. It was the Romans who, with the aid of their short thrusting sword of iron, the gladius, would shortly change the face of the known world. The continued improvement of iron smelting and smithing techniques allowed the Romans to be significantly more creative and eclectic than the Greeks in their development of body armor. They worked indefatigably to develop body armor which was strong, light, easy to put on, easy to wear, and effective at deflecting cut, thrust, and artillery (arrows, darts, and javelins). The Romans utilized such varying materials as bronze, cuir bouilli (leather boiled and shaped to form body armor), tanned leather, quilted cloth, and iron. Roman officers frequently commissioned intricately decorated bronze breast plates ornately

9. Terence Wise and Angus McBride, Ancient Armies of the Middle East, Menat-Arms Series, (London: Osprey Publishing, Ltd. , 1981), 24.

A Brief History of Arms, Armor, and Combat

7

etched and molded to give the appearance of a muscular chest. Also, the average Roman legionnaire was sometimes fitted with the lorica segmentata, an abdominal and chest armor consisting of strips of iron or steel (iron which had been heated in coal, absorbed carbon, and then quenched in water or oil to give it temper), and then banded together around the abdomen and over the shoulders. For obvious reasons, the lorica segmentata was a much sought after item as it was far superior to the leather cuir bouilli when it came to stopping or deflecting a cut or thrust to the abdomen or chest. As the Romans perfected their ability to mass produce items the lorica segmentata became a standard item of the legionnaire's uniform. In Sword and Masque (1967), acclaimed fencing maestro, Julius Palfy-Alpar, notes that:

In Ancient Rome the soldiers wore leather tunics (often mounted with iron bands or scales), leather breeches, studded girdles, metal helmets, and carried round or rectangular shields. They used straight double-edged, pointed swords (gladius) and spears (pilum). The sword was attached to the left side of the body; a short dagger was carried on the right side. 10 The leather breeches reached to just below the knees and the helmet was frequently made of both iron and bronze, with the crown being made of iron and the cheek guards of bronze. It should also be stated that it is very difficult to generalize regarding the armor and weapons of the Roman soldier-as the arc of the Roman Republic and Empire is nearly eight centuries in length.. As one examines the various uniforms utilized over that lengthy period it becomes obvious that there were numerous changes and developments, many of which reflect the growing influence of the foreign Auxiliary forces upon the domestic Legions. II 10. Julius Palfy-Alpar, Sword and Masque (Philadelphia: F. A. Davis, Company, 1967),3. Palfy-Alpar is slightly at odds with such noted scholars as Michael Simkins when he maintains that the Roman soldier carried his sword on his left side and the dagger on the right. Others maintain that it was actually the opposite; sword on the right and dagger on the left. Ostensibly, this was to enable him to draw the sword with the right hand while holding the shield with the left and not entangle the sword with the shield while in the heat of battle. 11. For a closer examination of the evolution of the Roman soldier's weapons, equipment, and uniform the reader may wish to consult the following publications in the Osprey Men-at-Arms Series: Michael Simkins and G. A. Embleton. The Roman Army from Hadrian to Constantine. London: Osprey Publishing, Ltd., 1979. ISBN: 0-85045-333-x. Michael Simkins and G. A. Embleton. The Roman Army from Caesar to Trajan. Osprey Publishing, Ltd., 1984. ISBN: 0-85045-528-6.

8

Stage Combat Resource Materials

The typical soldier of the Roman Empire (c. first century A.D.) was a member of one of the great Legions. He fought as a member of an eight man unit known as a cohort, attached to a company of eighty men known as a century (which at one time had consisted of one hundred men), which when joined to other centuries comprised an army of some 4,800 men known as a legion. The average legionnaire carried a javelin called a pilum, a rectangular shield called a scutum, and a short pointed sword called a gladius. He, like the Greek hoplite, fought en masse, but in a line formation. He was taught to throw his javelin, and then wade in with his gladius. The Roman soldier, unlike the Greek hoplite or the Germanic or Celtic barbarian warrior to the north, was taught to rely primarily on the thrust to the abdomen (as opposed to the cut) and to defend himself with his shield. The Romans championed the use of the point in close, armed combat. Once Roman influence was circumvented, the less disciplined use of the slash and cut once again rose to preeminence. As the Roman Empire fell into disarray, and Western Europe was overrun by various Celtic and Germanic tribes, the cut was to supplant the thrust until the latter half of the fifteenth century when the sleek new rapier appeared on the scene in Italy and Spain.. Fittingly, it was in Italy that the thrust would be rediscovered and applied to rapier-play. 12 The Romans were very creative in their use of the shield. They often formed a wall of shields which could advance on the army; or they would hoist their shields overhead to form the testudo (or tortoise), an armored box-like formation which was the equivalent of the Iron Age tank. This often allowed the Romans to advance on a fortified position while protecting themselves from stones, arrows, javelins, and other missiles.

Osprey also has several offerings in a series entitled Enemies of Rome. This series covers Rome's adversaries during the periods covered in Simkins's books. Naturally, there is a great deal of information about the Roman soldier in these publications as well. 12. In his prologue to The English Master of Arms from the Twelfth to the Twentieth Century (London: Routledge and Kegan Paul, 1956), well respected fencing historian, J. D. Aylward, discusses the abandonment and triumphant return of the point in close combat with the sword: Another striking advance made by the Italian masters of the sixteenth century was the rediscovery of the virtue of the point...the Romans...trained their legions in its use, but the practice had been lost during the Middle Ages. The revival of the old theory led to the evolution of a system...which, though not yet excluding entirely mandritti and riversi-cuts with the right and the false edge of the blade respectively-relied upon the superior efficiency of the stoccata or thrust. (2)

A Brief History of Arms, Armor, and Combat

9

This was also the era of the bloody gladiatorial combats of the arena. Gladiators tended to be much better trained than the average Roman soldier. Protective armor varied significantly from one type of gladiator to the next, but generally they wore less protective armor than the average soldier. Palfy-Alpar, in Sword and Masque (1967), offers some relatively detailed information on the various weapons and body armor employed by three types of Roman gladiators: Of the different kinds of gladiators, the Myrmillo and the Samnite were the heavier armed with helmet, shield, left leg protection, and sword. The Thracian gladiators wore helmets, two greaves, and used a short dagger. The Retiarius fought with a net in one hand and a trident in the other, and wore only a girdle with loincloth, greaves, with bands, and a bandaged left sleeve with metal shoulder plate. This type of gladiator was usually matched with a heavily armed opponent and fought either by throwing his net over his adversary and stabbing him or keeping him away with the trident. The sword, which in the beginning was a short, wide weapon, later was made about three feet long and thinner...The Latin proverbs show the seriousness of the games; "Ave Caesar morituri te salutant" (Hail Caesar, those who are about to die salute you); "Gladiators vincendum or moriendum erat" (The gladiators must conquer or die); "Vae victis" (Woe to the vanquished) . These expressions allow us to guess the fate of the conquered. 13 The way in which a gladiator fought was contingent upon the types of weapons and armor they were supplied with and trained to use. Some relied primarily upon the thrust, whereas others relied on the slash and cut. Still others sought to impale their opponents on spears or three-pronged tridents. Gladiators received their training in schools called Ludi, from instructors known as Lanesta. Students often practiced by delivering sword strokes to a wooden post planted in the ground, an early form of the quintain. From these early lessons, the gladiators then graduated to sparring with each other with wooden swords. Frequently demonstrations were offered by students before the fully trained gladiators began their fights to the death in the arena. Interestingly enough, the Romans, even though they enjoyed their gladiatorial games, did not advocate the duel; considering it a less than civilized way in which to decide personal matters. Both the ancient Greeks and the Romans relied very heavily upon the strength of their infantry. The foot-soldier was undoubtedly at the core of Greek and Roman combat strategy. After the introduction of the saddle in the fourth century A.D. and still later the stirrup, the emphasis shifted considerably toward the cavalry and the mounted soldier. David Edge and John Miles Paddock speak to the monumental importance of the introduction of the stirrup in Arms and Armor ofthe Medieval Knight (1988), 13 . Palfy-Alpar,3-4.

10

Stage Combat Resource Materials

A heavy thrusting spear was developed at the same time which had lugs at its base to prevent it penetrating too far. ..the lugs may have been necessary because stirrups were introduced which, in conjunction with a new type of saddle with a more prominent cantle and pommel, enabled the weight and speed of the horse to be harnessed to a lance thrust. Certainly stirrups allow a rider to make a stronger downward cut with a sword and give him more stability on rough ground and in a melee. Stirrups appear to have been invented in China sometime in the fifth century and are first recorded as having been used by the Arabs in the seventh century. They arrived in the West in the early years of the eighth century, apparently brought by the Avars and Lombardic invaders... 14 The impact of these innovations on warfare is clearly reflected in subsequent armor and weapons production and a heretofore unseen emphasis on the mounted warrior in battle. For all intents and purposes, this is the birth of the paradigm which will ultimately produce the Western European chivalric tradition and the mounted knight of the Middle Ages. Following the fall of the Roman Empire, during the period loosely referred to as the Dark Ages (the fifth through the tenth centuries A.D.), Roman style battle strategy, weapons, and armor continued to be utilized throughout what had formerly been the Roman Empire. However, some Roman fighting traditions were certainly discarded. Whereas the Romans had utilized the short thrusting sword in the hands of the infantryman, the Teutonic, Celtic, and Gallic barbarians utilized the longer, heavier forerunner of the medieval broadsword and effectively utilized the mounted warrior. Peter Wilcox, in Rome's Enemies (2): Gallic and British Celts, examines the nature of the sword Celtic barbarians utilized in battle, Celtic warriors were primarily thought of as swordsmen in the ancient world...Early Celtic iron swords were of excellent quality and followed the style of late Bronze Age types. Both bronze and iron types were manufactured together, until in time bronze ceased to be used...Several of the iron swords in this (Halstatt) period are so large that some experts have thought them to be for ceremonial use only, but they are no bigger than some of the great war swords of the Middle Ages. As with the bronze swords of this period, the blade is of a graceful elongated leaf shape with rounded spatular, square-kink or hollow 'V' points. 15 14. David Edge and John Miles Paddock, Arms and Armor of the Medieval Knight (New York: Crescent Books distributed by Crown Publishers, Inc., 1988), 11. 15. Peter Wilcox and Angus McBride, Rome's Enemies (2): Gallic and British Celts, Men-at-Arms Series, (London: Osprey Publishing, Ltd., 1985), 20.

A Brief History of Arms, Armor, and Combat

11

The Romans, in the latter portion of the Empire, had begun to see the advantages of a strong cavalry-but only after seeing it utilized effectively by their barbarian opponents on the frontiers of the Empire. The Roman cavalry auxiliaries tended to be made of foreign contingents culled from occupied territories. Mounted warriors discovered the power of the slash and cut delivered from the height gained when riding in the saddle on the back of a horse. During the Dark Ages the cavalry was to begin its inexorable march toward the supremacy it would attain during the early Middle Ages. The use of plate armor, as utilized by the Greeks and Romans, fell into some decline during the Dark Ages. The Romans had developed a crude form of chain-mail, which may have been borrowed from the East. During the Dark Ages chain-mail continued to be developed and refined. Scale armor also continued to flourish. What body armor was utilized tended to be based on Roman design as much of it had been either captured or discarded as the Roman Empire began to recede. Barbarian tribes of Western Europe-such as the Celts, the Lombards, and the Franks-relied heavily upon the bow and arrow, the spear, the javelin, the battle-axe, and the long battle sword. The Celtic battle sword had a blade which was long, wide, and straight, sometimes sporting a sharp, pointed tip-sometimes a sharp, rounded tip. Battle strategy was quite rudimentary during this period and individual talent coupled with valor tended to be the order of the day.16 In the latter part of this period, during the eighth and ninth centuries, Charles Martel, his sons Carloman and Pepin "the short," and Pepin's son, Charlemagne (Charles I), would firmly establish the Frankish Empire and solidly affirm their position as protector of the Roman Church. Ultimately the Frankish Empire would falter under pressure from several fronts including Viking raiding parties, the Lombards, the Magyars (and several other nomadic steppe-peoples), the pagans in the north, and the Muslims in the south. The external pressures placed upon the armies of the Frankish Empire led to fighting on multiple fronts, and hence to a much too thinly deployed army. As the Carolingian army became less effective at protecting cities and regions from attack, local alliances began to be formed and the advent of feudalism occurred. 17 According to this peculiar European form of governance, a ruler was allowed to make land grants in return for fealty, loyalty, and assurance that the landowner would raise an army when called upon to do so by the king. Each duke or baron now became responsible for raising a predetermined number of knights and foot soldiers. Each fief was also responsible for arming its knight.

16. Wilcox and McBride, 24 and 33. Wilcox describes, in some detail, a Gallic army attack on Roman forces. He goes on to offer commentary on the Cambrian wars, the Gallic wars, and the Roman invasion of Britain. 17. David Nicolle and Angus McBride, The Age of Charlemagne, Men-at-Arms Series, (London: Osprey Publishing, Ltd., 1984),20-31.

12

Stage Combat Resource Materials

During the late eighth century A.D. (around 793 A.D.) a new threat to the relative stability achieved by Charlemagne and his descendants began to appear from the north- the Vikings. These fierce invaders (initially from Norway, but the Danes and Swedes would soon join suit) sailed south into the British Channel and began to execute raiding parties up the rivers and estuaries of Western Europe, Britain, and Ireland. The Vikings came in their dragon ships brandishing their broadswords, spears, and battle-axes of the single and twohanded variety. They were terrifyingly fierce warriors and frequently slaughtered unsuspecting villagers as they plundered whatever that village might have to offer. "Berserkers" were a particularly fierce type of Viking warrior who would work themselves up to a frenzy (sometimes chewing on their shields) before rushing headlong (oft times completely unclothed) into battle. Many small villages in western France and the east coast of Britain were simply not prepared to face the type of unbridled barbaric Ferrocity exhibited by the Vikings in battle. As the invaders from the north made increasing headway into northwestern France, it was determined that it would be easier to cede a portion of the region to these tough Scandinavian warriors than to wage war against them. As the Vikings settled in this region became known as Normandy, the land of the Northmen, or Norsemen. 18 The early Western European knights who did battle with the Vikings and amongst themselves (as one petty province frequently tended to do battle with its neighbors) were protected by a knee length coat of leather covered with iron scales or rings. The knights also used a shield to ward off enemy weapons and artillery. Iron helmets were utilized, but were still of very simple design and construction. These knights were frequently supported by poorly equipped peasants. There is, however, little doubt that the lion's share of the fighting fell to the knight, as peasants could generally be put to rout all too easily by a mounted and well equipped knight. The weapons of the knight of the late Dark Ages and early Middle Ages included the lance (spear), the broadsword (which was long, straight, two-edged, and usually with a sharpened but rounded point), the battle-axe, and the mace. 19 At this time, defensive actions with the sword (parries) were still not a viable fighting technique. The knight tended to protect himself with his shield and use his weapons exclusively for the attack. As the later Dark Ages gave way to the Middle Ages chain-mail continued to be refined. The armor worn by the Normans who invaded Britain in 1066 with William the Conqueror, varied little from the protection worn by the Saxon warriors of King Harald Hardraada, the last of the great Viking kings. 20 However, there was one significant difference-more of William's 18. Terence Wise and G. A. Embleton, Saxon, Viking and Norman, Men-atArms Series, (London: Osprey Publishing, Ltd., 1979), 17-30. 19. Wise and Embleton, 10-16. 20. Terence Wise, in Saxon, Viking and Norman (Men-at-Arms Series, London: Osprey Publishing, Ltd., 1979), offers the following :

A Brief History of Arms, Armor, and Combat

13

soldiers had armor. This armor consisted of body and head protection, body armor in the form of a mail shirt or hauberk and head protection in the form of a conical helmet worn over a mail hood. The helmet usually had a bar which protected the nose called the nasal. Occasionally another bar extended down the rear of the helmet to protect the neck. The weapons still continued to be the lance (spear), the broadsword, the battle-axe, the mace, and the bow and arrow. Though relatively well protected by armor, it is believed a Norman arrow in the eye brought King Harald down and led to the subsequent defeat of the Saxon forces at Hastings. This was a lesson that would not be lost on the English. The next three centuries would see the English develop the use of the powerful longbow into an art form. They would utterly decimate the French forces at Crecy (1346), Poitier (1356), and Agincourt (1415) during the Hundred Years War, through their strategic use of the longbow. The mounted knight used his lance but just as frequently dismounted to fight on foot. This is the fatal flaw many of the French knights executed at Agincourt. The rain soaked ground quickly became a quagmire in which the heavily armored knights had great difficulty maneuvering. In the morass of mud and fallen comrades, the French knights fell easy prey to English archers as they released one "arrowstorm" after another. One by one, the French knights fell as the English "gray goose-shafts" found their way to the vulnerable points in the knights armor. The lightly armored archers could then move in, virtually at will, among the exhausted and wounded knights and dispatch them with arrow, sword, or dagger. During this period use of the shield, as opposed to defending with the weapon, remained the primary means of deflecting a blow, cut, or thrust. The hauberk and chain-mail hood (coit) was relied upon to protect the body from slashing and cutting blows. The thrust was utilized with the spear, but the primary means of attack with the sword and battle-axe continued to be the cut. The armor of the Norman knight changed relatively little until well into the twelfth century. The sleeves of the hauberk were lengthened and mailmittens were attached to the end of the sleeves to protect the hands. The helmet now began to reflect significant change. Helmets now tended to be hammered out of one piece and often included added neck and ear protection. These great helms fit over the entire head, including the skull-cap. The hair was worn long and stuffed up under an arming cap. This provided a sort of cushion for the skull-cap to rest upon. It was during this period that heraldry and armorial bearings (coat of arms) began to emerge, as the great helm hindered a knight in distinguishing friend from foe on the battlefield. Emblems began to appear on both battle and ceremonial shields and, shortly thereafter, on cloth surcoats worn over the body armor. These coats of arms were meticulously generated under the guidance of the College of Heralds. Each symbol, color, or tincture on the coat of arms communicated copious information about a knight's ancestors, On 25 September Harald Hardraada, the last great Viking leader, died at the battle of Stamford Bridge: with him died not only the Viking raids on Europe, but also the Viking Age, and...Scandinavian influence over Western Europe. (22)

14

Stage Combat Resource Materials

coat of arms communicated copious information about a knight's ancestors, accomplishments, and the hierarchical status of his family. Standards bearing a commander's coat of arms often helped facilitate regrouping on the battlefield and, during peace-time, made for colorful pomp and ceremony at tournament. In the twelfth century, due to the accuracy and power of the longbow and the crossbow, scaled and ringed coats were no longer affording adequate protection. It was now necessary to make chain-mail out of a smaller, denser link. The development of a stronger chain-mail led to the quest for a weapon which could penetrate this new improved form of chain-mail. The answer to this challenge was the estoc. This long, thin, stiff three or four sided blade could push apart the new chain-mail and penetrate the body beneath. Predictably, this new offensive weapon led to a defensive response, the development and implementation of plate armor. The prevalent use of plate armor reinforced the need for heavy, percussive offensive weapons designed essentially to beat the opponent into unconsciousness and to crack through the defensive armor. Arthur Wise, in his The Art and History of Personal Combat (1972), discusses the symbiotic relationship between arms and armor: Increased defence has always produced new weapons designed to overcome it. The period of heavy personal armour was accompanied by the development of weapons that would crack it or slip through its articulations to penetrate the human body inside. The war hammer, the mace, the axe and poleaxe, the morning star and the flail, all fall into this first category. The misericorde dagger and a new type of thrusting sword (estoc) both fall into the second. 21 During the thirteenth century the hauberk tended to be replaced by the brigantine, a garment upon which iron scales had been sewn. Knights now wore ailettes, square plates of armor worn over each shoulder which bore the knight's ornamental emblem as it appeared upon his shield. During this century additional plates were added to the panoply of armor the knight wore. Cuir bouilli also made a comeback during this period, and the common soldier often wore this boiled and molded leather over his chain-mail for additional protection. During lengthy periods of peace, tournaments were held. At these "tourneys" jousting might take place, or melees might be fought. Jousting consisted of two knights racing toward each other on horseback with a lance under the right arm leveled at the opponent. A shield was carried on the left side of the body to deflect the opponent's lance. Melees were "free-for-alls" in which several knights fought with blunted, or "bated," blades. These tournaments were looked upon as great social events and were considered opportunities for knights to keep themselves ready for combat. It is also in this period that the Judicial 21. Arthur Wise, The Art and History ofPersonal Combat (Greenwich, Conn.: Arma Press, 1972),33.

A Brief History of Arms, Armor, and Combat

15

Combat was employed by the nobility in determining guilt or innocence in matters of law and honor. Might was considered right, and it was believed that God would never allow the just to be vanquished by the unjust. However, the appearance of the paid "champion," a professional man-at-arms who sold his services for a price, was just one of the influences which would ultimately lead to the demise of the Judicial Combat. The law, in many instances, allowed a person (especially a woman, but not exclusively so) involved in a judicial dispute to enlist the services of a champion to fight in their stead. As this practice became less and less rare, it became evident that the person who was apparently in the right oft times would fail to overcome the trained skills of these medieval mercenaries. It became more and more manifest that "might" was not necessarily always "right;" thus encouraging noblemen to rely increasingly upon their own honed skills, and less upon the whims of Providence. The fourteenth century saw rapid developments in plate armor. It is during this century that upper and lower arm protection appeared, as did protection for the upper and lower leg. Coupled to the arm and leg plates were protection for the elbows (couters) and knees (polyens). The mailed gauntlet gave way to the gauntlet of articulated plates for each finger. The strips of metal plates which made up these articulated sections were called "lames." During the fourteenth and fifteenth centuries the knight's entire body was to become totally encased in metal plates. The foot soldier continued to wear the hauberk supplemented with a kettle type helmet, or a skull-cap, or simply a mail-hood called a coif. The fifteenth century was a period of rapid development in which the helmet experienced several evolutionary improvements. The cumbersome great helm was replaced with open-faced helmets such as the bascinet, the barbut, the kettle-hat, and the sallet, which offered a rear extension which covered the exposed rear portion of the neck. In the beginning the bascinet was worn over the coif, but soon the chain-mail was directly attached to the rim of the helmet. During this century the lower portion of the breast plate was increased in size to cover not only the chest but the lower abdomen as well. Italian armorers also began to build ridges and ribs into the armor to aid in deflecting thrusts away from such vital areas as the neck and joints. German armorers, in the 1450s, began to "flute" the surfaces of their armor with hundreds of ridges. This style is now referred to as "Gothic" armor. Eventually this "fluting" would become very exaggerated and relegated to the realm of decoration.22 As the open-faced helmet was realized as a liability, visors began to be attached to the front of the helmet in place of the older nasal bar. These visors could be raised and lowered at will and were held in place by spring-loaded catches. Soon plates were added to protect the lower neck and chin (bevors) and the upper chest (gorgets). Most foot soldiers were too poor to afford either new hauberks or plate armor. They tended to acquire new body armor by either scavenging it from fallen soldiers or by having it given to them by their masters. 22. Edge and Paddock, 94-135.

16

Stage Combat Resource Materials

The fact that they fought un-mounted dictated that leg armor was, by and large, cumbersome and unnecessary. Conversely, the mounted knight was perpetually plagued by the fact that his legs were vulnerably exposed and easy prey for the enemy. Necessity being the mother of invention, protective armor for the legs began to evolve at a more rapid rate during this period. It should, however, be mentioned that knights could, and often did, remove the lower portions of their armor when they dismounted to engage the enemy on foot. The techniques of waging personal combat remained relatively static during this rather lengthy period. It was the heavy percussive weapon which continued to carry the day. The jousting lance, the heavy broadsword, the battle-axe, and the mace were used to bludgeon the opponent into submission. Once the enemy was on the ground and at the victor's mercy, the victor could then determine whether to dispatch the fallen knight with a "mercy stroke" (cutting the throat with a dagger called the misericorde), search for a chink in the armor or joints into which the estoc could be thrust, or to let him live to be ransomed for a handsome price. These techniques were used whether the combat was a duel, an encounter on the battlefield, or a contest in tournament. The latter portion of the sixteenth century saw firearms come to play a more prominent role in battle. Interestingly enough, it was the introduction of the firearm which led directly to the rapid development of swordplay, as knights were forced to discard their cumbersome armor. A knight perched firmly atop his steed and blazing in his armor in the early dawn made a wonderful target for the peasant trained to touch off an arquebus. Arthur Wise, in The Art and History ofPersonal Combat (1972), explores the impact that early firearms had on the art of warfare in the Middle Ages: It was the concept of personal defence by heavy armour that the firearm shattered. It was theoretically possible at this time to produce armour of sufficient thickness to withstand the blows of the armour-cracking weapons-though such armour would have reduced the mobility of the wearer to nil. But it was not possible to produce personal armour of sufficient thickness to withstand the blow of a missile impelled by a charge of gunpowder. At one blow, the theory of personal defence through heavy body armour fell apart. 23

If the noble knight could not depend upon his suit of armor to protect him on the battlefield what was he to do? He soon realized he would have to tum to those who had never really had access to armor for lessons on defense and evasion: True, by the middle of the fifteenth century it was probably safe for a man to admit that he ran a school of fence, though legislation in the thirteenth and fourteenth centuries was still in force . But the professional fencing teacher was still classed with "rogues and 23. A. Wise, 33-34.

A Brief History of Arms, Armor, and Combat

17

vagabonds"-and actors!-and such a classification did not encourage lively, analytical and discriminating minds into the profession. 24 The common man had, from the beginning, had to learn to survive without the aid of body armor. For him, armor had always been cost prohibitive. It was now the commoner who was in a position, having developed special survival skills, to serve as master and instructor: Fortunately, perhaps, skill with the sword had not fallen into abeyance during the period of armour. To arm for the lists was an expensive business and there were many who could afford no more than a shirt of mail. The archer at Agincourt, for example, was not clad in plate. In personal combat he still relied on the sword. So did the apprentice in the larger towns of Europe. For defence such men relied on agility and on the buckler, very much as men had done for five hundred years and more. There was here a continuous tradition of sword and buckler play, but it was a tradition that relied very much on personal tricks and personal ability. It was not a tradition that had thrown up any systematic practice or theory.25 In other words, the common man who could develop his survival skills and personal combat techniques into a viable and marketable system, could now teach-becoming, in essence, the new "Lanesta." In Renaissance England, the teaching of fencing, the art of cut, thrust, and defense with the blade, came to be virtually dominated by commoners as opposed to noblemen. On the continent, however, the upper classes quickly made up for lost time and in such countries Members of the upper classes as Spain, France, Italy, and Germany. enthusiastically embraced the teaching of swordplay and schools of fencing soon began to appear in these countries. Italian masters, in particular, began to see the rest of Europe as a burgeoning marketplace for their skills. Many began to go abroad and set up schools of fence in other European countries. In England, however, the aristocratic Italian masters would run into significant resistance from the English Masters of Defence, made up almost entirely of commoners. It is during this period that the long, thin, two-edged blade known as the rapier appeared on the scene. The rapier's origin is variously attributed to Spain and to Italy. In either case, its deadly thrusting style was destined to gain momentum and ultimately dominate Western Europe during the sixteenth and seventeenth centuries. The fact that the rapier was worn by civilian and soldier alike, and was considered a part of everyday dress, facilitated a dramatic

24. A. Wise, 35. 25 . Ibid., 34.

18

Stage Combat Resource Materials

increase in private altercations and duels. 26 In fact, the period of the rapier was one of the most quarrelsome in all of history. In the wake of a terrible duel between two favorites of Henri II of France, the Sieur de Jarnac and the Lord of Chastaigneraie (which left Chastaigneraie dead) the king determined never to give his permission for such an encounter to occur again. Ironically this royal edict, intended to circumvent future bloodshed, in fact it had the reverse effect. Alfred Hutton, in The Sword and the Centuries (1901), discusses how the Judicial Combat of the Middle Ages-and the brutal medieval broadswordcame to give way to the private Duel of Honor of the Renaissance-and the deadly cut and thrust style of rapier: In the knightly days single combats were confined to the champs dos, which was never granted where the quarrel was of a frivolous nature, and only the monarch himself, or some great noble the governor of a province, and so holding vice-regal powers had the authority to grant it...and to fight a duel without permission was a matter of high treason. Thus such encounters were held in check, and took place rarely. But this ill considered vow of Henri II changed the aspect of affairs; various gentlemen applied for permission to settle their quarrels in the good old fashioned manner, but invariably met with a prompt refusal, so they ignored the King's vow and his edicts, and the laws of the land as well, and introduced, in place of the solemn combat in the champ dos, the duello alia mazza, as the Italians called it. They went out into the woods and fields, sometimes with seconds and sometimes without them, which latter imprudence opened the way to abuses: a combatant would wear chain mail underneath his clothes...men were placed in ambush to intercept the enemy on his way to the field, and the possibility of such an arrangement caused both parties often to come to the ground attended by a number of friends and partisans. This again, led to other abuses, and to much sad slaughter of valiant gentlemen.27 If the king was not going to personally oversee a combat between two gentlemen, it became obvious that some type of governance was necessary. This led to the aristocratic class articulating what it believed to be honorable conduct before, during, and after a duel. Indeed, a gentleman's reputation depended upon how closely he followed these rules of conduct. Hutton discusses how the gentleman's "Code of Honor," and it's liberal definition of what constituted an insult or affront to one's reputation or honor, came to be

26. Palfy-Alpar,9. 27. Alfred, Hutton, The Sword and the Centuries (Rutland, Vermont: Charles E. Tuttle, Company, 1901; second reprint 1980), 70-71.

A Brief History of Arms, Armor, and Combat

19

inextricably entwined with this sleek, deadly sword; and why gentlemen were inclined to cross swords upon the slightest provocation: ... the "point of honor" was carried to such an extreme point that men would fight to the death for almost any trivial reason, and sometimes even without any at all, but from pure light-heartedness, for the mere fun of the thing and for nothing else...Why, these sixteenth century people would pick a quarrel with a man for merely looking at them. ..28 Early in the sixteenth century, publications on fencing began to appear on the scene with some frequency.29 Authors such as Mozete, Marozzo, di Grassi, and Agrippa began to publish their theories and techniques for the rapier. These theories began to advocate, more with each passing year, the efficacy of the thrust over the cut. The rapier was, at this time, still used exclusively for offensive purposes. A small round shield, called the buckler (about twelve inches in diameter), was utilized in the left hand to ward off the thrusts and cuts of the opponent. Thrusts were frequently aimed at the face with the intent of causing the opponent to flinch or change their guard. Duelists also made liberal use of the time-thrust, a simultaneous parry and counter-attack. To clarify: a fencer was at his strategic best if, as he thrust at his opponent's body, his sword simultaneously deflected his opponent's thrust; if he failed to do so, then the buckler (or the target, another small, rectangular shield) was then used to deflect Another left-handed defensive technique included the opponent's attack. 30 wearing a glove of mail upon the left hand. This would allow the fencer to deflect the point of his opponent, or even grasp his opponent's blade with impunity. Still another was to wrap one's cloak around the left arm and use it to parry cuts and thrusts. If the cloak were loosened, it might be wrapped around

28. Ibid., 75 . 29. Palfy-Alpar,9. Diego de Valera had actually published a book in Spain in the second half of the fifteenth century, as had Talhoffer (Fechtbuch) in 1467. Talhoffer's book consisted, primarily, of illustrations. 30. In The Art and History of Personal Combat (Chapter Four: Cut or Thrust) Arthur Wise discusses French master Sainct Didier's concept of the "counterattack" To him [Sainct Didier] the only way in which the sword might be used defensively was when it was launched as a counter-attack on an opponent's attack in such a way that it would deflect the attacking blade and at the same time strike the opponent. Such a move was well known to Marozzo and to German practitioners...(47)

20

Stage Combat Resource Materials

the opponent's blade and suddenly jerked away in an effort to disarm the enemy. Finally, it was even possible to cast the cloak over the opponent's face to be followed up by a quick thrust, or "stocatta" to the abdomen-hardly "cricket," but certainly effective. And finally, a dagger could be used in the left hand. This afforded the fencer the advantage of not only deflecting or parrying with the left hand, but also, when necessary, the fencer could attack with the left hand as well. Yet another commonly utilized technique was trapping the opponent's rapier blade in the quillons of the dagger. Once trapped, a quick twist of the wrist locks up the opponent's rapier blade. With his opponent's blade safely neutralized, the duelist would then have the advantage of distance-as his rapier is still free and his opponent has only his dagger available.3l One challenge the modem fight director faces when attempting to create a Renaissance swordfight for the stage or screen, is that modem audiences have been conditioned to expect the lightning fast swordplay exhibited by Errol Flynn and Basil Rathbone in film swordfights staged by such master fight choreographers as Fred Cavens and Jean Heremans during the 1930s and 1940s. In truth, actual duels of the sixteenth and seventeenth centuries would have been much less theatrically interesting to watch...though infinitely more deadly. Light modem competitive fencing blades coupled to adjusted modem fencing techniques have led to the evolution of a theatrical fighting style which is more palatable to a modem audience. Rapier hilts were still relatively simplistic at this point in the weapon's evolution. The hilt consisted primarily of a cross bar (derivative of its progenitor the broadsword) with the addition of "arms of the hilt" (pas d' anes) extending below the cross bar to afford protection for the index finger which was now looped over the cross bar (quillons). The ability to loop the index finger over the quillon gave the fencer much more control over his weapon. It is also worth mentioning that at this point (the middle of the sixteenth century) the rapier was still a relatively heavy and somewhat cumbersome weapon, often reaching lengths of five feet and over (six feet in Spain). The sheer weight and length of the weapon would have made much of the choreography we currently see on the stage and screen impossible to execute in the first place, and secondly, very dangerous if it were attempted by an actual duelist. The large sweeping sabre cuts, which modem audiences so adore, would have left a real duelist dangerously vulnerable to a quick thrust to the abdomen or face. As of the beginning of the sixteenth century, what modem fencers recognize as the "lunge" was still virtually unknown. Descriptions of a 31. Leonid Tarassuk, Parrying Daggers and Poniards (Blue Diamond, Nev.: Society of American Fight Directors, 1987), 17. A very informative little booklet published by the late Dr. Tarassuk, former Senior Research Associate and Curator of the Department of Arms and Armor at the Hermitage Museum in Leningrad and Research Associate, Department of Arms and Armor, Metropolitan Museum of Art in New York City. Those wishing to purchase this publication can do so at a very reasonable price through the Society of American Fight Directors (1-800-659-6579).

A Brief History of Arms, Armor, and Combat

21

movement somewhat similar to the lunge begin to appear as early as the middle of the sixteenth century-yet it was still some time before it would gain widespread acceptance. Di Grassi wrote, in 1570, of a lunging type movement in his Ragioni di Adoperear Sicuaramentall'Arme. Viggiani described a lunge in his Trattato dello Schermo, published at the end of the sixteenth century. Egerton Castle in his Schools and Masters of Fence (1885) credits the Italian master, Salvator Fabris, with publishing the first comprehensive description of the lunge in his Sienz E Practica D'Arme, but not until 1606. During the late fifteenth, throughout the sixteenth, and even well into the seventeenth century, fencers "passed," or utilized a walking type movement to move in and out of thrusting distance. The "wardes" or "guards" of this period are not to be confused with parries, or use of the blade to block or deflect an opponent's attack. They were actually more akin to differing positions from which attacks might be launched. During the latter portion of the sixteenth century the general movement pattern of the duel would best be described as circular. The participants would attempt to gain the advantage by moving to the side of their opponent. Naturally, the opponent would counter by stepping away, or traversing, at an angle away from the attack. The overall effect was that of the duelists circling each other attempting to find a moment of opportunity during which they might move within distance and deliver a debilitating cut; or even more preferable, a mortal thrust to the face or abdomen. Arthur Wise, in The Art and History of Personal Combat (1972), describes some of the more salient aspects of Renaissance rapier-play: The whole fight was energetic, with a good deal of general movement-passing, slipping to one side, changing guards, having first the right foot forward and then the left. Strength and endurance were essential qualifications for success. We should remember, too, that two men meeting in earnest would not feel restricted by any rules of gentlemanly conduct. All rough-andtumble techniques of the earlier periods were still legitimate in serious combat. Wrestling, tripping, and kicking were all legitimate moves. 32 As the last quarter of the sixteenth century began, the buckler and target were soon replaced by the dagger in Italy. Germany, like England, continued its devotion to the cut over the thrust. And Shakespeare's England began to experience a somewhat heated controversy regarding the importation of the continental rapier; a controversy one can see clearly represented in several of the Bard' s plays including Romeo and Juliet and Henry IV, part 1. During this period of time in England it was considered fit and proper that aristocratic young men, as part of their cultural "finishing" before they officially joined society, should make a "Grand Tour" of Europe. Naturally, as these 32 . A. Wise, 39.

22

Stage Combat Resource Materials

young men traveled to Spain, Italy, and France they were introduced to the rapier and its deadly thrust. These young men returned to England with a desire to learn more about this new form of fighting. Italian fencing masters, sensing a profound opportunity to emich themselves, began to travel to England and set up schools in which rapier and dagger-play were taught. This was not well received by the English Masters of Defence. This was a hearty group of Englishmen (virtually all commoners) who had been awarded an exclusive patent for teaching self-defense by Hemy VIII. 33 They set up a system in which students could progress from one level to the next: from scholar to free scholar, from free scholar to provost, and from provost to master. Unfortunately for them, the patent granted the organization by Hemy VIII expired during Elizabeth I's reign, just in time for the arrival of these entrepreneurial Italians. The Masters of Defence advocated the good old English broadsword and despised the thrusting style of the Italians. One Master of Defence by the name of George Silver wrote a book entitled Paradoxes ofDefence (1599). This book was a valiant attempt to defend the English broadsword and stem the Italian invasion as articulated in Vincentio Saviolo's tome Vincentio Saviolo, His Practice in Two Books (1595). Silver referred to the Italian style of rapier and dagger playas the science of "offense," not defense. He also referred to the Italians and their "frog pricking poniards (daggers)." Italians such as Rocco Bonetti, Jeronimo, and Vincentio Saviolo, had set up shop in London and begun to cater to the throngs of young gallants desiring to learn more about this continental style of swordplay. Some of the English Masters of Defence, in an effort to embarrass the usurping Italians, challenged them to contests of skill and to serious duels as well. The Italians frequently refused to fight on the grounds that the English masters were commoners, and a gentleman was prohibited from crossing swords with a social inferior. 34 Do what they might, Silver and the 33. In his The English Master ofArms, 1. D. Aylward discusses the introduction of the rapier to England: Even when the London Masters of Defence obtained their long sought monopoly from Hemy VIII, the Italians had already given the sword a new form, and had evolved scientific theories about its management...The infiltration of Italian ideology into England was due, largely, to the craze among the upper classes for Italian culture. During the sixteenth century every English parent who could afford it sent his sons adventuring across the Alps to acquire polish in what was reputed to be the Promised Land.. .no doubt...the majority found schools of arms more to their taste than letters.. .During the fifteenth and sixteenth centuries a surprising number of Italians faced the hardships of a journey to England. A few made it their adopted country; others went back to their native land after a more or less profitable stay. (39-40) 34. J. D. Aylward., 52-53 . Aylward discusses incidents recounted in George Silver's Paradoxes of Defence in which Rocco Bonetti receives a sound

A Brief History of Arms, Armor, and Combat

23

other Masters of Defence could not stop the onslaught of the rapier. Much to their dismay the upper classes continued their love affair with the "new fangled" rapier and they continued to patronize the Italian fencing masters. Queen Elizabeth was not disposed to support the Masters of Defence when they requested a renewal of the patent given them by her father, HeillY VIII. Therefore, the English masters had no legal means of shutting down the Italians, and the upper classes continued to look upon the "common" English masters with scorn even as they studied the new "Italienate" methods of swordplay taught by Bonetti and others. Rapier instruction was generally limited to the upper classes, as the aristocracy tended to be those who could afford to pay the relatively exorbitant fees demanded by the Italian teachers. The lower classes could afford neither the expensive new weapon nor the equally expensive lessons which one needed to become proficient in its use. Therefore, the lower classes continued in their use of the sword and buckler and its predominantly cutting style of play. Fencing principles in Italy, France, and Germany seemed to spring from similar sources. In Spain an entirely different school of rapier-play developed during the sixteenth century. The Spanish masters introduced a sense of the mystical into their swordplay via geometric and mathematical principles. The instructors taught their students legwork by having them step out patterns on diagonals and tangents drawn out in diagrams on the floor. This came to be known as the Spanish "magic circle.,,35 The English, for some strange reason, drubbing at the hand of a waterman, Vincentio Saviolo is knocked down by one Bartholomew Bramble, and Jeronimo is slain by "two thrustes through the bodie" with a good old English broadsword, naturally. But it is also possible, as Alfred Hutton suggests in The Sword and the Centuries (1901), that the Italians may not have wanted to fight because they were not as good as they advertised. Hutton muses that if these Italian masters were as good as their claims they could have easily earned a living in Italy and saved themselves the trouble and expense of setting up shop in a chauvinistic foreign land bristling with contentious competitors. (150) 35. In The English Master of Arms, Aylward discusses the Spanish school of rapier-play and the grudging respect English swordsmen had for duelists trained in the "mystical" Spanish style: Ten years after the defeat of the Armada, the Tudor Englishman still regarded the Spaniard with pious horror. But while he had quite unwarranted contempt for the Spaniard as a fighting man, he was eager to study the principles of rapier-play laid down by Don Jeronimo de Carranza and his successor, Don Luis Pacheco de Narvaez, actually Master of Arms to the King of Spain. These masters based their theory upon geometrical principles presuming a "magic circle," the radius of which was the length of the swordblade, itself proportioned to the stature of its owner. By stepping along the chords and tangents of the magic circle in the correct

24

Stage Combat Resource Materials

came to respect Spanish fencers, much more so than the Italians and French (the French tended to be taught by Italian masters at this time) . Spanish theory postulated that if one moved in a certain sequence along established lines one would eventually gain the advantage of proximity on the opponent and be in a position to thrust home. The "mystic circle," containing the various lines of attack and evasion, was marked out on the floor of the Spanish schools and the scholars took great pains to practice their footwork diligently. The Spanish swordsmen always kept in motion while they fought, with the feet moving quickly and lightly -as if executing the intricate steps of a dance. They tended to keep the feet fairly close together, the body relatively upright, the weapon arm fully extended, and the point directed at the opponent's face. English respect notwithstanding, this school of fencing was not particularly practical and took years of devoted practice to master. 36 Nevertheless, according to Arthur Wise in The Art and History of Personal Combat (1971), Spanish swordplay had, .. .wide European influence whilst remaining itself unaffected by developments elsewhere. Theory and practice remained substantially as Thibault described it until well into the eighteenth century, and this itself argues considerable merit in the method in actual combat, since it could hardly have lasted if its exponents had not been able to survive combat with opponents from other schools. 3? By the end of the sixteenth century dueling had become quite the rage all over Europe. To some it may have seemed as if men walked about with their hands

manner the pupil was bound to hit his opponent, unless, of course, the latter took evasive action by stepping the reverse way. (66) 36. Like J. D. Aylward, Arthur Wise also speculates on the strange respect the English had for Spanish swordsmen in The Art and History ofPersonal Combat. This phenomenon is especially strange considering that the two countries were vying for world leadership: ...this insistence on cool deliberation produced swordsmen who were renowned throughout Europe as formidable duelists. Perhaps it was that the system, because of its complexity, was difficult to leam...it required long hours of practice. .. Whatever the shortcomings of the system evolved by Caranza and developed by Narvaez...it produced fine swordsmen.. .it must have had virtues that are no longer immediately apparent to us. It was certainly well known in England...(53) 37. Ibid., 117.

A Brief History of Arms, Armor, and Combat

25

perpetually upon their sword hilts, as if they left their abodes with the set intent of inciting a fight. As previously mentioned, Henri II of France issued edicts against the practice of dueling, as did Elizabeth I of England, as they grew increasingly weary of losing their favorite courtiers and most dynamic soldiers in back alley brawls. Nevertheless, dueling not only continued but grew to be considered virtually a right of passage for the aristocratic gentleman. Arthur Wise, in his The Art and History of Personal Combat (1972), discusses the paradoxical popularity of the duel in France and its deadly consequences: The latter half of the sixteenth century saw, with the disuse of the judicial duels, the rise of that extraordinary mania for private dueling which cost France in 180 years the useless loss of 40,000 valiant gentlemen, killed in single combats which arose generally on the most futile grounds.38 Much to many a monarch's chagrin, dueling was not only winked at by the aristocracy, it was considered a sign of good breeding and courage to duel in defiance of the edicts. In fact, a gentleman's station in society, the esteem in which he was held by fellow members of his social class, was often a direct corollary of the number of times he had dueled. During the late sixteenth century the rapier went through several innovations. Whereas the weapon had begun as virtually a streamlined broadsword with arms extending below the quillons to protect the index finger, new bars began to be added to protect the hand. These bars were not only a product of necessity, but often resulted from the dictates of fashion-mongers. Daggers soon began to be produced to match the intricate bars of these "swept" hilt rapiers. When rapier and dagger were of similar hilt style they were referred to as "en suite." The favorite weapon of the military continued to be a broadsword with a basket-type hilt which covered much of the hand. To effectively make use of the rapier the combatants needed room in which to thrust, room that was often lacking in the tight confines of a battlefield melee. Soldiers, and especially members of the cavalry, found the heavier broadsword, a weapon designed for cutting and slashing, more effective on the battlefield. By the beginning of the seventeenth century the transition rapier (flamberge) was being introduced into society. This rapier frequently had no knuckle-bow and very short quillons. It reflected a transition toward what was known as single rapier-play. As the rapier evolved toward a lighter weight, it became a weapon used almost exclusively for thrusting. Fencing masters began to recognize that a lighter weapon could be used for both offense and defense. During this century many fencing masters accepted the thrust as supreme and began to publish that opinion. Fabris, Giganti, and Capo Ferro began to advocate the parry and the counter-parry-all of which were now possible with the lighter rapier. It is also during the seventeenth century that the fencing38. A. Wise., 48. Wise draws upon Egerton Castle's Schools and Masters of Fence (1885) for the substance of his discussion.

26

Stage Combat Resource Materials

button was placed on the tip of the blade for practice. This was intended to curtail the number of eye injuries incurred during practice bouts. French schools tended to dominate the fencing scene during this century. Dueling continued to be popular even in the face of laws against it established by Louis XIV. 39 During the first quarter of this century, a Netherlandish combination swept-hilt/shell-guard rapier known as the "Pappenheimer" (named after Gottfried Heimich, Graf zu Pappenheim, one of the most prominent cavalry leaders of the Thirty Years War) came to be extremely popular. As the century wore on it became clear that a shell guard was quite adequate for protecting the hand, especially as swordplay continued to evolve toward an ever increasingly thrust oriented style. It was during the middle decades of the seventeenth century, as the rapier gave way to the transition rapier (or flamberge), that the cut began to fade away into virtual obscurity. During the waning decades of the century, the transition rapier was rapidly losing its prominence to a new weapon-the elegant, sleek, small-sword and its exclusive use of the thrust. This deadly weapon was destined to hang on the hip of most continental gentlemen for the next 150 years. Across the English Channel, the English Masters of Defence, no longer able to make profitable living teaching students, began to fight each other in quasi-gladiatorial combats for purses of money. Indeed, these men came to be referred to as gladiators. In days gone by the English Masters of Defence, commoners that they were, would never have stooped so low as to fight each other for money. These, however, were different days and times were difficult for the "masters." These contests were often bloody and brutal affairs in which scalps were laid open, ears nearly lopped off, fingers and wrists sliced open, and wounds sewn up with needle and thread, on the stage, in full view of the audience. Acclaimed scholar of the sword J. D. Aylward, in his The English Master ofArms, the Twelfth to the Twentieth Century (1956), presents an extant contemporaneous piece reflecting on the bloody bouts of the English gladiators as penned by a visiting French author-a certain M. de Rochefort, during the Restoration of Charles II: The tallest had the advantage over the least, for according to the English fashion of fencing, they endeavored to cut rather than to push in the French manner, so that by his height he had the advantage of being able to strike his antagonist on the head, against which the little one was on his guard. He had in his tum an advantage over the great one in being able to give him the Jamac stroke by cutting him on the right ham, which he left in a manner quite unguarded. So that, all things considered, they were equally matched. Nevertheless, the tall one struck his antagonist on the wrist, which he almost cut off, but this did not prevent him from continuing the fight after he had been dressed and taken a glass or two of wine to give him courage, when he took ample vengeance 39. Palfy-Alpar, 15 .

A Brief History of Arms, Armor, and Combat

27

for his wound. For a little afterwards, the tall man stooping to parry it laid his whole head open, when the little one gave him a stroke which took off a slice of his head and almost all his ear....For my part, I think there is an inhumanity, a cruelty, and a barbarity in permitting men to kill each other for diversion. The surgeons immediately dressed them and bound up their wounds, which being done, they resumed the combat, and both being sensible of their respective disadvantages, they therefore were a long time without giving or receiving a wound, which was the cause that the little one, failing to parry so exactly, and being tired with his long battle, received a stroke on his wounded wrist which, dividing the sinews, he remained vanquished, and the tall conqueror received the applause of the spectators. 40 These contests were frequently fought with a variety of weapons including the rapier, the rapier and dagger, the broadsword, and the quarterstaff. In the latter portion of the seventeenth century a new blade, referred to as a colichemarde, had come on the scene. It had a rather thick forte (the third of the blade closest to the hilt)-virtually as thick as a rapier; but then it quickly tapered to a very thin and flexible blade. In theory the colichemarde was to offer the best of both weapons. It was thought that the thicker forte would allow the fencer to parry the cut of a rapier should he face a rapier fencer (which was quickly becoming antiquated, except in Italy and Spain); but the lighter colichemarde blade would also allow the fencer the quickness of blade to effectively deal with an opponent sporting the newer small-sword. In reality, the small-sword continued to gain dominance and the thick forte of the colichemarde was soon determined to be unnecessary-as the cut had virtually disappeared. Arthur Wise, in his The Art and History of Personal Combat 40. J. D. Aylward, in The English Master of Arms (London: Routledge and Kegan Paul, 1956, 120), offers an account of playing the prize in postRestoration England, from the diaries of M. de Rochefort, who was doing social research in London, and therefore "needed no excuse for his presence among his inferiors at the Bear-Garden." Indeed, it was imperative, for no account of English manners could be complete without an intensive review of "playing the prize," a feature peculiar to England. The "Jamac" stroke which is mentioned in M. de Rochefort's account is a cut to the back of the leg (the "ham") which might sever either the knee tendons or the ham string muscle. It is named for a famous French duel in which two favorites of King Henri II, the Sieur de Jamac and Chastaigneraie, fought. Jamac was taught the stroke by a certain Italian soldier of fortune, Captain Caizo. De Jamac systematically cut the tendons behind Chastaigneraie's left knee and then the right. Chastaigneraie was completely incapacitated and could not continue. He was so distraught he tore off his bandages and would not let his wounds be dressed. He eventually bled to death. For a more detailed recounting of this well known duel, see Robert Baldick's The Duel and Alfred Hutton's The Sword and the Centuries.

28

Stage Combat Resource Materials

(1972), puts the demise of rapier and dagger-play and the ascendancy of the single-blade style of swordplay in context, when he notes that, ...the superiority of French theory and practice over that of the Italians was established by the work of Besnard in 1653. Besnard had in mind the transition rapier, which still retained some semblance of a cutting edge but which in use could be regarded as exclusively a thrusting weapon. With Besnard we see the beginning of the end of rapier play and its replacement by the play of the small sword which was dominated by French theory and practice during the eighteenth century. With Besnard, although passing is still admitted, the lunge is the main method of attack. We see, too, the establishment of the parry proper, as something separate from the "time thrust," in which an attack was met with a counter-attack, which not only beat aside the oncoming blade but hit the opponent at the same time. So the single movement of the counter-attack is replaced by the double movement of parry and riposte.41 The eighteenth century saw the small-sword completely supersede the rapier as the chosen weapon of the European and English aristocracy. The small-sword was the product of 150 years of evolution of a weapon that was originally designed to cut, into a weapon that could both cut and thrust, to, finally, a weapon designed exclusively for the thrust. There is little doubt that in the hands of an experienced fencer this was a deadly weapon. The small-sword was light, flexible, sported a razor sharp point, but no cutting edge. When worn at court it often exhibited the exquisite craftsmanship normally reserved for jewelry. The hilt was frequently engraved with intricate designs, which included precious stones, precious metals, and colorful enamel illustrations. Gentlemen paid quite exorbitant sums in an effort to obtain a small-sword which would be the envy of his social circle. Generally these expensive and intricately crafted weapons were reserved for the court on special occasions and were not used in actual duels. During the eighteenth century the differences between the French and Italian schools of fence became more clearly defined. The French school, based on small-sword-play, was centered on subtlety in the wrist and fingers and deception of the opponent's blade. The Italian school was based on a more aggressive approach which had evolved out of rapier-play. The Italian style relied upon controlling the opponent's blade with such actions as beating, enveloping, or binding. The French school, because of its ability to deceive any attempt to take the blade and quickly return to a threatening line, was ultimately to be the more widely accepted of the two. Undoubtedly the best known smallsword stylist of the eighteenth century was Domenico Angelo, an Italian trained in the French style who established a school of fencing in London which would 41. A. Wise, 126.

A Brief History of Arms, Armor, and Combat

29

become incredibly popular during the second half of the eighteenth century. Arthur Wise, in The Art and History of Personal Combat (1972), recounts Angelo's accomplishments despite of the rising popularity of the dueling pistol in affairs of honor: Angelo is certainly the most important figure in British personal combat theory in the eighteenth century. Yet in many ways he heralded the end of such combat with the sword. There was no more efficient thrusting weapon for killing a man than the small sword and in consequence there were few ways in which the theory and practice of its use could be developed further. And, as we have seen, a totally new method of killing a man was being evolved. The pistol, towards the end of the eighteenth century, was still a crude and unreliable weapon, but it already contained within itself the idea of thrusting a hole through an opponent far more effectively than could be done with the small sword, and without coming into close personal contact with him. 42 Angelo ' s salon was a very popular haunt for the London bon vivant. There one could socialize, have a drink, get invited to an impending soiree, catch up on the latest gossip, and grab a quick fencing lesson as well. It should, perhaps, be mentioned that many of the attacks and parries advocated by such eighteenth century small-sword masters as Angelo, Danet, Girard, and La Boessiere form the basis for much of the French foil technique practiced in competitive fencing to this day. It was, of course, during the eighteenth century that the musket was to become the preferred weapon for the soldier and the pistol the preferred weapon of the duelist. Initially, neither the musket nor the dueling pistol was "rifled." In other words, the lead balls were not expelled from a barrel which had been rifled to make the ball spin and travel a more true line. These early weapons were not particularly accurate. Due to the inconsistency and inaccuracy of these primitive dueling pistols, small sword duels were still a relatively common occurrence through the first quarter of the nineteenth century. The discussion of the eighteenth century and its deadly small-sword completes our survey of the development of arms, armor, and personal combat through 1799. Such a survey can only be cursory at best. In a chapter of this size it would be impossible to discuss all Western cultures, nations, weapons, and fighting styles utilized through 1799. The primary purpose of this bibliography is, after all, to guide readers to resources which they can then research for themselves. The intent of this chapter is merely to serve as an organizational aid; to assist readers by supplying historical context as they attempt to "zero in" on whatever resources they deem pertinent to their research.

42. A. Wise., 178.

CHAPTER 2 BOOKS 1. Alaux, Michel. Modern Fencing: Foil, Epee, and Sabre. New York: Charles Scribner's Sons, 1975. **H, R, T, E**

ISBN:0-684-14116-7 (cloth) and 0-684-16945-2 (paper). An excellent book on competitive fencing technique of most use to the fight director, teacher of stage fencing, and the actor-combatant. The text is 189 pages in length, includes 163 black and white photographs of various techniques with explications, 3 pen and ink drawings, and 6 diagrams. Here will be found the terminology of fencing and precise explanations on how to execute all the techniques any fencer could ever hope to master. However, it should be remembered that many of the parries and attacks would need to be adjusted for the stage and screen. In a preface penned by Eugene Blanc, Jr. (President, New York Fencers Club, circa 1975) we are treated to a list of Mr. Alaux's most impressive credits, which include: Maitre d'Armes at the Fencers Club in New York and thrice coach of the United States Olympic Fencing Team. Modern Fencing begins with an entertaining chapter entitled "History of Fencing" which quickly scans the birth and development of the art of fence. Agrippa's innovations are discussed as are the contributions of Di Grassi and Vigiani. This section concludes with a lively narrative of the exploits of one Jean-Louis Michel, a mulatto born in Haiti and destined to become one of France's greatest duelists during the age of Napoleon. The book then moves on to its true focal point-an exploration of the theoretical base and technical expertise required to fence foil, epee, and sabre in competition. Table of Contents: HISTORY OF FENCING Jean-Louis Michel FOIL

32

Stage Combat Resource Materials

Equipment- Footwork- Fencing Strip-Distance- Grip-The Engagements- Target- Simple Attacks- Lines- Parries--Hand Positions- Riposte and Counter Riposte-En-garde Positions-Compound Attacks-The Lunge- Preparations of Attacks- FootworkCounterattacks- Variety of Attacks- Counter Time- Attacks on Preparation- Bouting EPEE Equipment-Defense- Grip-Offense-Target-Preparations of Attacks- Lines- Counterattacks- Hand Positions-Variety of AttacksEn-garde-Position- Counter Time and Counter Stop-The LungeBouting- Footwork SABRE Weapon- Footwork- Target- Hand Positions-Line-Simple AttacksGrip-Parries- En-garde Position-Riposte and Counter Riposte-The Lunge- Compound Attacks-The Fleche-Attacks on the BladeDistance- Counter Attacks-Variety of Attacks-Bouting ELECTRICAL APPARATUS LESSONS LESSONS Developing Technique (the academic lesson; the bouting lesson; the training lesson; the group lesson) CONDITIONING by Marius Valsamis, M. D., Associate Professor of Pathology at Albert Einstein Medical School Preparation for EndurancePreparation for Strength- Coordination and Mobility- A Conditioning Program The section on lessons really operates more on a theoretical level as opposed to supplying specific lesson plans for instruction.

2. Allanson-Winn, R. G. and C. Phillips-Wooley. Broad-Sword and SingleStick. London: George Bell and Sons, 1898. **B, I, D, M, V, R, T, E, H** No ISBN available. Allanson-Winn and Phillips-Wooley offer a "How-To" manual on quarterstaff, broadsword (read: heavy cavalry sabre), and single stick (read: German schlager) technique. The text is a brief 116 pages in length, offers 35 line drawn illustrations, and 5 diagrams. In the Introduction AllansonWinn states: When man was developed, no doubt one of his first ideas was to get hold of a really good serviceable stick-not a little modem masher's crutch- a strong weapon, capable of assisting him in jumping, protecting him from wild beasts, and knocking down his fellow-man.. .Thus we can imagine that the birth of quarter-staff play- not much play about it in those days- was a very simple affair; and we recognize in it the origin and foundation of all the sword exercises, and all the games in which single-stick, lance, and bayonet play a prominent part.

Books

33

With these words of introduction the author leaps into an explication of quarterstaff technique. One of the more interesting aspects of the book is its presentation of quarterstaff as a competitive sport. The numerous illustrations and accompanying descriptions of quarterstaff equipment bring to mind the Japanese kendo (sword) stylist-with all of the accompanying protective armor. Table of Contents: I. II. III. IV. V. VI.

Introduction The Quarter-staff The Broad-Sword Single-Stick The Bayonet The Cudgel, Shillalah, Walking-Stick, Umbrella, and Various Accessories

Allanson-Winn and Phillips-Wooley have produced a manual on the study and use of several weapons that are rarely found in other resources. For example, quarterstaff theory and drills, outside of a very cursory presentation in Arthur Wise's Weapons in the Theatre, are relatively difficult to find. An interesting side point is the authors' presentation of the "circle of cuts" offered in this text. It bears a strong resemblance to Henry Marshall's (Stage Swordplay, 1977) circular chart diagraming blade paths. The various lines cutting across the circle represent blade cutting paths, and are numbered one through seven. This system does not coincide with modem fencing terminology in terms of labeled cuts and parries. However, many of the trajectory paths do correspond to several cuts utilized in modem sabre technique.

3. Allcock, Hubert. Heraldic Design: Its Origins, Ancient Forms and Modern Usage. New York: Tudor Publishing Company,1962. **H, M** LCCN: 62-19117. Mr. Allcock examines the origins of heraldry (the coat-ofarms), blazonry (the verbal and technical description of the coat-of-arms), and how the practice continues to be used to this day by states, universities, colleges, etc. This brief book, which makes prolific use of illustrations, will be of most use to armorers constructing medieval shields and costumers constructing medieval surcoats and banners. The book is 96 pages in length, includes over 500 line drawn (black and white) illustrations, and a glossary-index. In his introduction Allcock outlines how heraldry came into being, the evolution of the coat-of-arms, and the creation of the College of Heralds by Richard III of England. Table of Contents: Introduction A Complete Armorial Achievement Components of a Complete Armorial Achievement The Shield

34

Stage Combat Resource Materials

Tinctures (Colors) Charges Devices Beasts and Monsters-Birds and a Bee-Vegetables and Fish-A Variety of Objects-Human and Part Human The Crest Impalement of Arms Quartering Cadency: The Inheritance Line Blazonry Your Own Personal or Commercial Coat Calligraphy A Sampling of Symbols Commercial Arms Arms of the World: American Arms-British Arms-Scotch Arms-Irish Arms-French Arms-Spanish Arms-Italian Arms-Teutonic Arms-Scandinavian Arms-Russian Arms-Arms of the Pope and Clergy-Arms of the American Republic- Early American Arms-D. S. Government SealsSeals of the States-Academic Arms Allcock clearly explains the meaning behind the use of color (both tinctures and metals), how a shield is divided and why, what the various monsters and animals which adorn a coat-of-arms mean, what a crest is, and the several other elements which comprise this exact art form.

4. A New Book ofSports. London: Richard Bentley and Son, 1885. **R** This publication offers a chapter entitled "Rapier and Dagger," (pages 147-154), no illustrations. "Rapier and Dagger" is an interesting nineteenth century offering which will be of most interest to the fight director and stage combat teacher. Fight choreographers may enjoy comparing the descriptions of the "wardes" (guards) to illustrations from earlier periods. The anonymous author of this book looks to ancient manuscripts in an effort to clarify the style of rapier and dagger play current during the Elizabethan and Jacobean periods. The author has chosen to confine himself exclusively to those masters who directly influenced fencing in England: Di Grassi, who was translated into English in 1594; Saviolo, who taught in London and was published in 1595; Silver, who fought so valiantly in defense of the English broadsword, and whose Paradoxes of Defence was published in 1599; and Swetnam, who published his book in 1617. Included are references to some of the early guards or "wardes" that were utilized-the "high," the "broad," and the "low" guard are all discussed in relative depth. The author also attempts to examine the origin of the lunge in regard to its appearance in England and credits Joseph Swetnam with first advocating what modern fencers would now recognize as the lunge. He also makes inaccurate reference to the "punto riversa" as a riposte. As set forth by

Books

35

Marozzo, the "punto" is simply a point attack to your opponent's right side (generally initiated from the attacker's left side). An attack of this nature is not necessarily a riposte-which is an attack immediately following the successful parry (block/deflection) of an attack. Our author concludes this chapter with a word of support for the much maligned George Silver, the staunch defender of the native English broadsword in the face of those "frog-pricking poniards" of Bonetti, Jeronimo, Saviolo and the other "villainous" Italian masters of what Silver referred to as the art of"offense."

5. Angelo, Domenico. The School of Fencing. New York: Land's End Press, 1971 (reprint of 1763 original). **E** This publication will prove invaluable to anyone interested in theatrical fencing, especially to those interested in the intricacies of the small-sword of the eighteenth century. The text is 137 pages in length with 69 black and white line drawn illustrations of small-sword techniques at various stages of execution. Also contained in this publication are two small publications by Henry (known as Harry) Angelo, Domenico's eldest son, entitled The Angelo Cutlass Exercise, and Hungarian and Highland Broadsword. In Domenico Angelo's descriptions of technique and Thomas Rowlandson's illustrations (Rowlandson supplies the illustrations in Harry's reprint-the original illustrations were supplied by John Gwynne for Domenico's 1763 original) we have a relatively precise record of eighteenth century small-sword technique. It should, however, be remembered that many of the poses contained in Angelo's book were considered academic even in his own time but we are concerned with what is useful theatrically. This copiously illustrated treatise on the art of fencing is a translation from the original French into English of Domenico Angelo's L'Ecole des Armes (1763). This "smaller and less expensive" version of Domenico's magnum opus was originally published, with Domenico's blessing, in London (1787) by his eldest son Henry who had since inherited the Fencing Academy at the Opera House, Haymarket. Domenico Angelo is now considered an icon of the eighteenth century art of fence and many fight directors frequently utilize this book's illustrations for choreographic inspiration. Angelo was teaching during that somewhat awkward period during which the duel with the sword was, more often than not, being replaced by the duel with pistol. The study of swordplay was quickly being relegated to the somewhat tepid position of gentlemanly exercise. This ambiguity is reflected in the descriptions of technique as they take on the flavor of academic exercise only to slip into a more combative attitudeas advice is offered for surviving the duel or ambush. Frequently the weapon is represented as bated, yet just as often we see illustrations depicting the blade passing through the body of an unfortunate duelist or brigand. Such styles as sword and dagger, sword and lantern, sword and cloak, sword versus Spanish rapier, and sword versus broadsword are described and illustrated. The greater share of the book is devoted to the various thrusts, parries, and leg work necessary to excel in the use of the small-sword.

36

Stage Combat Resource Materials

6. Annis, P. G. W. Naval Swords: British and American Edged Weapons 1660-1815. Harrisburg, Pennsylania: Stackpole Books, 1970. **R, T, E** ISBN: 8117-1104-8. This book will be a valuable resource to swordmakers interested in reproducing Renaissance, Transition, and eighteenth century naval cut and thrust weapons. The text is 80 pages in length, includes 51 black and white photographs, 3 diagrams, and a glossary. Mr. Annis was involved with W. E. May in producing Swords for Sea Service, a two volume comprehensive examination of swords in the British National Maritime Museum. Naval Swords is, essentially, a truncated version of these volumes. The text has a decidedly British point of view as evidenced by the following from the Introduction to Naval Swords: The period chosen, from 1660 to 1815, covers the appearance of a formal naval organization and growth in Britain, the extension of maritime traditions in America, the continuation and severance of political links between the two countries and, more importantly in the present context, the establishment of recognizable types of edged weapons for seamen. The period covered is one in which the use of cut and thrust weapons in both the American and the British Navies was, at the very least, somewhat eclectic. The formal organization of the British Navy dates from the Restoration of Charles II. Beginning with the eighteenth century the various European wars and revolutions gave tremendous stimulus to the development of naval weapons. Of special interest is the French influence due to the success of the French Revolution; said influence especially impacting in the weapons used by the American colonials. The nineteenth century saw the British Navy establishing patterns for weapons, all of which are discussed and many of which are depicted in this text. Although several small-swords are pictured in the book-it is the hanger, the hunting sword, and the cutlass that tend take center stage. The sort of subtle swordsmanship associated with the small-sword was not considered particularly valuable on board ship. There is also discussion on German influence, as both America and Britain tended to import Solingen blades. Table of Contents: Plate 1. A Late Seventeenth Century Scallop Shell-hilted Hanger Plate 2. Admiral Duncan wearing a Bead-hilted Sword Chapter 1: Naval Swords General History 1660-1815 Larger Hunting Swords Stirrup Hilts (cavalry influence)-1790s Back and Broadswords Eighteenth Century Decoration The Beaded Hilt Spadroon- I780s Chapter 2: The Naval Dirk American and British Dirks

Books

37

Dirk as a Fighting Weapon The Dirk in Other Countries The Dirk as a Sign of Officer Status Chapter 3: Presentation Weapons Officers Distinguished in Action Distinguished Careers Chapter 4: Sword Knots Sword Knots on Civil and Military Swords Sword Knots as Sign of Rank and Status Plates 3-31. Naval Swords worn from 1660-1815 Plates 32-36. Small Swords Plates 37-42. Cutlasses Plates 43-51. Dirks Plates 52-57. Presentation Swords Mr. Annis frequently turns to portraits from the period in an effort to trace and date various weapons. Some of the more recognizable portraits examined include: John Benbow (by Sir Godfrey Kneller), Sir C10wdisley Shovel (by Michael Dahl), Charles Saunders (by Richard Brompton), Richard Kempenfelt (by Tilly Kettle), and John Paul Jones (by R. Brookshaw). Naval Swords is very similar in nature to T. A. Bosenquet's The Naval Officer's Sword, offering a similar focal point.

7. Ashdown, Charles. Armour and Weapons in the Middle Ages. London: The Holland Press, 1925 (facsimile edition reprinted 1975). **D, V, M** ISBN: 0-900470-63-1. Armour and Weapons in the Middle Ages will be very helpful as a standard introductory resource for armorers, weaponsmakers, fight directors, directors, actors, and dramaturgs. The text includes 183 line drawn illustrations, a photographic frontispiece, a bibliography, and a glossary. The wide range of usefulness for this text is due not only to its general references to medieval weaponry, but also to its references to specific historical incidents and the role the specific weapons and armor played in those incidents. Ashdown's book best serves as an introduction to its topic. However, when compared to other offerings in the field it puts several of them to shame. The book does not offer much detail in its line drawn illustrations. They are of the line drawn variety which one might find in dozens of other publications covered in this study or listed in any general arms and armor bibliography. One might compare this book to Oakeshott and Treece's Fighting Men. Table of Contents: I. II. III. IV. V. VI.

The Saxon Period (To 1066) The Norman Period (1066-1180) The Chain-Mail Period (1180-1250) The Chain-Mail Reinforced Period (1250-1325) The Cyclas Period (1325-35) The Studded and Splinted Period (1335-60)

38 VII. VIII. IX. X. XI. XII. XIII. XIV.

Stage Combat Resource Materials The Camail and Jupon Period (1360-1410) The Lancastrian or Surcoatless Period (1410-30) The Gothic or Tabard Period (1430-1500) The Transition Period (1500-25) The Maximilian Period (1525-1600) The Half-armour Period (1600 and afterward) The Tournament Horse Armour

Each chapter begins by defining the period chronologically and then offers a listing of significant battles from the period. This same chapter heading will then frequently offer a list of significant improvements in arms and armor from that period. The fight director will undoubtedly enjoy the various descriptions of battles, including several specific "rencountres" and one on one combats. Finally, the Glossary that Mr. Ashdown has devised will be very useful in facilitating communication. When one compares it to similar offerings it is undoubtedly one of the more readable and informative. This is a very useful piece of scholarship for those involved in the production of plays, films, Faires, etc. set in the medieval period.

8. Asquith, Stuart and Chris Warner. New Model Army 1645-60. Men-atArms Series. London: Osprey Publishing, 1981. **R** ISBN: 0-85045-385-2. This small book will be of most use to fight directors, costumers, directors, actors, and dramaturgs. The text is 40 pages in length, and includes a selected bibliography of 25 entries, 29 black and white photographs, 8 color plates, and 6 diagrams of significant battles fought by the New Model Army. This particular entry focuses on the formation, structure, major battles, and the major personalities that made up the New Model Army (1645-60), the army patched together by Cromwell to do battle with King Charles I. List of section titles: Introduction The Origins of the New Model Organization Regimental Establishment The Foot-The Dragoons-The Horse- The Artillery- The Staff Uniforms and Equipment Infantry-Cavalry-Dragoons- Weapons- Artillery- Flags Army Life Recruiting-Supplies-Discipline- Religion-Marriage-Medals Campaigns The Interim-The Second Civil War-Regicides- Ireland-Dunbar and Worcester-The Commonwealth The Plates (illustrations)

Books

39

As is typical of this series, the illustrations supplied by Chris Warner are of high quality and clearly depict the various uniforms, weapons, accoutrements, and standards of the various regiments of the New Model Army.

9. Aylward, J. D. The English Master of Arms, from the Twelfth to the Twentieth Century. London: Routledge and Kegan Paul, 1956. **M, R, T, E** No ISBN available. Here is a useful resource for directors, dramaturgs, actorsand even some marginally useful information for choreographers in terms of the weapons, attacks, parries, stances, etc. in vogue during the various historical periods the author examines. The book's range is quite broad for its 284 pages and includes 23 illustrated plates (engravings, portraits, woodcuts, etchings, and illustrations from ancient original manuscripts), various appendices, a bibliography, and an index. Mr. Aylward, Member of Honour of the British Academy of Fencing, is painstakingly meticulous in his research, and does his best to weave his factual (and occasionally trivial) material into a format that is reasonably entertaining. However, if one will put up with his occasional indulgences, there is a great deal to be gleaned from his book in terms of the ancient methods of fighting, etiquette, and the evolution of weapons, fighting styles, and teaching methodologies as presented by the English Masters of Defence (be they native to Britain or not). Table of Contents: I. II. III.

IV. V.

VI. VII. VIII.

IX. X.

XI. XII. XIII.

XIV. XV. XVI. XVII. XVIII.

The Medieval Master The Tudor Master Playing the Prize Rocco Bonetti Jeronimo and Saviolo George Silver The Jacobean Master Monsieur Faubert's Academy The Carey Manuscript The Gladiator, I The Gladiators, II Sir William Hope Donald McBane The Eighteenth Century Masters The Later Georgian Masters The Angelo School The Nineteenth Century Renaissance

Aylward begins with "The Medieval Master" and quickly launches into such topics as trial by combat and the pugilists, or those professional ruffians who fought in place of one or both of the litigants in trial by combat...for a price. Aylward then moves forward to the Renaissance with his chapter on "The Tudor

40

Stage Combat Resource Materials

Master." He also delves into what a candidate had to go through to become a Master; or that process known as "playing the prize." Aylward also discusses the process known as the "Bill of Challenge." This was a public proclamation that an aspirant was ready to attempt to gain his Master's classification, or "prize," against all "Maisters in their subtle mysterie at the weapons." Chapter IV. briefly chronicles the career of the Italian who refused to play his prize with the English Masters, Rocco Bonetti. Aylward describes, in some detail, how the English Masters sought to plague Bonetti and thwart his attempts to teach. Chapter V discusses Bonetti's heirs Jeronimo and Saviolo. It is clear from the evidence Aylward presents that the antagonism that the English Masters held for Bonetti had by no means abated by the time they dealt with his successors. Chapter VI takes a look at that venerated champion of the English broadsword, George Silver, and his long suffering fight against the "new-fangled" rapier and its deadly point play. Also offered are two chapters on the English "Gladiators" which examine what "playing the prize" had degenerated into by the late seventeenth century. The chapter entitled "Renaissance" (Chapter XVIII) details the efforts of such men as Alfred Hutton and Sir Richard Burton to shine the spotlight on the early masters through lectures, demonstrations, reprints of original manuscripts, and new publications on early fencing masters. This chapter also discusses the "new" style of sport fencing and the effect of the teachings of nineteenth century master Baptiste Bertand.

10. Aylward, J. D. The House ofAngelo. London: The Batchworth Press, 1953. **E** No ISBN available. This entertammg and informative look at the Angelo dynasty will be of most use to directors, fight directors, and dramaturgs for its wealth of historical information. The book is probably most valuable as a look into the fashionable London fencing salle of the eighteenth and nineteenth centuries and the colorful personalities that gathered there. The text is 215 pages in length, includes 13 black and white illustrations (photographs and reproductions of antique plates), a bibliography, and an index. Domenico Angelo is now primarily remembered for his 1763 tome on the use of the smallsword, L'Ecole des Armes. For material usable to the choreographer, it is recommended that one go directly to Angelo's book as opposed to Aylward's. Although some disarms and techniques illustrated in Domenico's book were already considered academic in his lifetime, the illustrated plates in the book are the source of inspiration for countless fight directors to this day. The Angelo family, beginning in the l760s, was to dominate the London fencing scene for over a century. The lion's share of The House of Angelo is appropriately devoted to Domenico, founder of the House of Angelo. Aylward does a creditable job of narrating Domenico's accomplishments as a teacher of fence and as a duelist as well. Aylward then moves on to Henry Angelo (who is called Harry) and is also known as Angelo II. Aylward also deals with Henry Angelo's transformation of the Angelo School of Fencing into a social club once gentlemen began leaving their swords at home. An entire chapter is devoted to

Books

41

duels fought by Angelo disciples. There is even an examination of that oh so mysterious character, the Chevalier d'Eon, whose gender baffled so many until the day he (?) died. Table of Contents: I. II. III. IV. V. VI. VII. VIII. IX. X. XI. XII. XIII. XIV.

Domenico Angelo Tremamondo Domenico settles in London Carlisle House L'Ecole des Armes Life at Carlisle House Some duels by Angelo's pupils: Wilkes-Riddle-Bate-Dudley-R. B. Sheridan Angelo's friends: Wilkes-Horne-Tooke-Reynolds-D'Eon Domenico's latter days Harry Angelo Harry Angelo's life in London The Opera House Rooms Harry's pupils: Byron-Herries-the Light Horse Volunteers The Bond Street Academy and Harry's latter days The Angelo descendants

The House of Angelo is an entertaining narrative of the many accomplishments and exploits of this First Family of the Small-sword. It serves as a very useful resource for researching the salle d'arrns of the eighteenth century in London. and is a remarkable resource penned by a reputable author.

11. Aylward, J. D. The Small-Sword In England: Its History, Its Forms, Its Makers, and Its Masters. London: Hutchinson's Scientific and Technical Publication, c. 1945. **E** No ISBN available. Noted scholar-of-the-sword, J. D. Aylward, offers a detailed study of the small-sword during multiple decades in several European countries. This book is an excellent resource for those interested in reproducing small-swords for the stage. The text is a compact 132 pages in length and includes 56 illustrations (including 46 different examples of small-swords, 8 reprints of antique illustrations, and 2 diagrams), an index, references, 9 appendices, and a flow-chart. This detailed examination of the small-sword includes 46 photographs of actual antique small-swords. The publication is extremely well documented and scholarly in tone. Mr. Aylward has applied his keen talent for historical research to the development of the small-sword, the weapon of choice for civilian duels during the period 1660-1800 (although during the later decades the dueling pistol had already begun to supplant the small-sword in disputes of honor). Aylward carefully charts French influence on the English court of Charles I. He also chronicles the introduction and ascendancy of the small-sword, and its exclusive use of the "thrust" over the "cut and thrust" play of the rapier. Table of Contents:.

42

Stage Combat Resource Materials

Chapter I: The Sword Chapter II: Blades Chapter III: Hilts Chapter IV: Silver Hilts Chapter V: Swordsmen Chapter VI: Contemporary Sources Chapter VII: Collecting Chapter VIII: The Sword-Cutler Appendix Mr. Aylward has produced an extremely well documented and scholarly examination of the weapon of choice for the eighteenth century gentlemanwhether on the field of honor or cutting a fashionable swath at court. The dozens of photographs of small-swords from various nations makes this an especially attractive publication for swordrnakers. Fight directors will enjoy the discussion on the several prominent swordsmen and the duels in which they participated. Drarnaturgs and directors will appreciate the history that Mr. Aylward so meticulously documents.

12. Baldick, Robert. The Duel: A History of Dueling. New York: Spring Books, 1965. **D, V, M, R, T, E**

ISBN: 0-600-328376. The Duel is an informative and entertaining historical survey of the European and American duel. This book will be of most use to fight directors, directors, actors, and drarnaturgs. The book is 212 pages in length, with 47 black and white photographs, 43 line drawings, 8 reproductions of engravings, a bibliography, and an index. Various categories of dueling are chronicled in chapters that include: the Judicial Duel, the Duel of Honor, and the Duel of Chivalry. The book draws upon dozens of contemporaneous accounts of historically famous and infamous duels in France, England, America, and various countries throughout Europe and Scandinavia. Of particular note may be the author's chapters entitled "Unusual Duels" and "The Pen and the Sword." The first presents several duels that, either due to the nature of the conflict, the weapons involved, or the execution of the duel, are considered to be outside the traditional and established guidelines of the Code Duello. Some of these unusual duels include some very humorous incidents. Other episodes are quite brutal and end tragically. The latter chapter, "The Pen and the Sword," touches on the duel in literature and various literati who have participated in duels. Table of Contents: I. II. III. IV. V. VI.

The Origins of the Duel The Middle Ages The Renaissance The Seventeenth Century The Eighteenth Century The Nineteenth Century

Books VII. VIII. IX.

43

The Twentieth Century The Unusual Duel The Pen and the Sword

Baldick offers narratives of duels involving blades and firearms. He adeptly presents his narrative in a way which is scholarly yet maintains a sense of humor throughout. The information is presented in some depth, yet the content is entertaining.

13. Barbasetti, Luigi. The Art of the Sabre and the Epee. New York: E. P.Dutton & Co., Inc., 1936. **8, R, T, E** This book presents numerous drills and exercises designed by Maestro Barbasetti, circa 1936, for sabre and epee. Many of these drills, with minor adaptation, can certainly serve as the inspiration for drills for theatrical fencing. This 170-page book contains 24 black and white photographs, 34 line drawings, and a glossary of terms. Luigi Barbasetti began his Viennese salle in the fall of 1894. We are informed, by Victor Silberer, Proprietor and Director of the Allgemeine Sports Zeitung of Vienna, who pens the eloquent Appreciation to this manual of the Barbasetti style: ...the best fencers in Vienna-and all of Austria for that mattersoon realized that they still had much to learn from the young Italian master. .. Several black and white photographs present Barbasetti's parries for sabre, while line drawings clarify and support his epee drills. Barbasetti advocates the elbow as the pivot point for the sabre molinello (what Castello calls the "whirl"). Most modem masters have long since gravitated toward the Hungarian wrist and finger centered approach to the sabre. Even though Barbasetti's technique may no longer be de rigueur for modem competition, the larger circular movements he advocates are entirely appropriate when one considers the cueing/telegraphing process so necessary for fencing on the stage. Table of Contents: PART ONE-THE ART OF THE SABRE Chapter I Introduction 1. Sabre Fencing 2. The Parts ofthe Sabre 3. Holding the Sabre 4. Preparation for the Salute or the First Position 5. The Salute 6. The Guard 7. Resting Position 8. The Target

44

Stage Combat Resource Materials

9. The Distance 10. The Advance 11. The Retreat 12. The Jump Backward 13. The Lunge 14. The Recovery from the Lunge to the Position of the Guard Chapter II 15 . Positions of the Hand 16. Movements for Study (Molinelli) 17. Cut to the Head by Molinello Coming from the Left 18. Cut to the Head by Molinello Coming from the Right 19. Molinello to the Flank 20. Molinello to the Abdomen 21. Molinello to the Face 22. Invitations 23. Engagements Chapter III 24. Cuts in General 25. Direct Cuts 26. Cuts by the Molinello 27. The Thrust 28. Parries in General 29. The Simple Parries 30. Yielding Parries 31. Counter Parries 32. Parries While Recovering from the Lunge 33. The Riposte 34. The Cuts to the Arm This represents only the first part (three chapters) of three "parts" devoted to sabre technique. Obviously, Mr. Barbasetti has compiled and explicated a comprehensive list of techniques. The following 4 chapters (numbers 4 through 7) offer an additional 39 techniques, for a total of 73 sabre techniques. Many of the basic techniques necessary for competent foil and epee fencing are covered in the chapters on sabre. What he offers is an additional 4 chapters covering 13 technical aspects of consideration for effective epee fencing. The glossary, which appears at the end of the text, presents English, Italian, French, and German translations of various fencing terms.

14. Barber, Richard. The Knight and Chivalry. London: Cox and Wyman, Ltd., 1970. **M** ISBN: 0-85115-041-1. Mr. Barber who is also co-author with Juliet Barker of Tournaments: Jousts, Chivalry and Pageants in the Middle Ages, offers a comprehensive and scholarly examination of feudalism, knighthood, chivalry,

Books

45

and religion. The book will be of most use to directors, dramaturgs, and fight directors. The book is 399 pages in length, offers 22 black and white photographs, 8 color photographs, a bibliography, and an index. Mr. Barber delves into the origins of feudalism and knighthood. He begins by examining the influence of Charlemagne and uses this as a departure point for discussing the rise of feudalism, the emergence of an elite class of warrior, the aristocracy, and the integration of chivalry with knighthood. Table of Contents: Part I: The Feudal Warrior 1. The Knight 2. Knighthood 3. The Heroic Age of Chivalry: the Chansons de Geste Part II: Chivalry and Literature 4. Traditions of Love and Attitudes to Women The Troubadours and the Courts of Provence 5. 6. The Minnesingers 7. The Romances of Chivalry 8. The Knight and the Clerk 9. Chivalric Biographies and Handbooks Part III: Chivalry in Action 10. The Tournament as Sport 11 . The Tournament and Politics 12. Warfare Part IV: Chivalry and Religion 13. The Church, Warfare and Crusades 14. The Military Orders in Palestine 15. The Templars in Exile 16. The Hospitallers at Rhodes and Malta 17. The Teutonic Knights 18. The Spanish Orders 19. The Prince and Chivalry 20. The Secular Orders 21. The Epic of Chivalry Revived 22. Critics of Chivalry and Advocates of Reform Epilogue Appendix I: The Order of the Banda References Bibliography and Sources of Quotations Of special interest to the fight director will be chapter twelve, "Warfare." However, the fight director should take note of the fact that there is little here regarding how the individual knight fought. Most of the narrative in this chapter examines the knight as member of a unit of knights involved in combat on horseback.

46

Stage Combat Resource Materials

15. Barthop, Michael and G. A. Embleton. The Jacobite Rebellions 16891745. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1982. **R, T, E** ISBN: 0-85045-432-8. This entry examines the various seventeenth and eighteenth century attempts to place a Stuart on the throne of England. The text will be most useful to fight directors, directors, actors, dramaturgs, and costumers. The book is 39 pages in length, offers approximately 34 black and white photographs, 8 color plates of costume and weapons renderings, I map, and a suggested reading list. Scottish uniforms of the period abound throughout this small but densely packed text. Armorers will not find many useful photos in this particular Osprey offering; however, some reasonably detailed illustrations of weapons are supplied. Author Barthop and illustrator Embleton chronicle the several failed attempts (in 1689, 1708, 1715, 1719, and 1745) to place a Scottish king upon the throne of England after James II was forced off the throne for trying to re-Catholicize England and was replaced by William and Mary. The final rebellion came in 1745 as young Prince Charles Edward Stuart (son of James III and known as the "Young Pretender") attempted to take Scotland in a prelude to war with England. He succeeded in taking Edinburgh but was doomed to failure at Culloden on April 16, 1746. List of section titles: Chronology of the Jacobite Rebellions Background The 1689 Rebellion- The 1708 Rebellion-The 1715 Rebellion-The 1719 Rebellion- The 1745 Rebellion-Aftermath The Jacobite Forces The Government Forces Regiments engaged in the chief actions of the Rebellions, 1689-1746 Uniforms Jacobite Forces- Government Forces The Plates (various illustrations of Highland Clansmen and Government soldiers) The text examines the Jacobite forces (Stuart), the Government forces (William and Mary, and later the House of Hanover), and the uniforms and weapons of these forces. Embleton's illustrations of the Scottish Highlander uniforms and weapons reflect Osprey's high sense of quality. The core of the book is a timeline/chronology of all the various battles fought (most of which took place in Scotland). The narrative is not as lively as found in some of the other Men-atArms offerings focusing more on listing facts, events, and dates.

16. Barthop, Michael and Angus McBride. Marlborough's Army 1702-11. Men-af-Arms Series. London: Osprey Publishing, Ltd., 1980. **E** ISBN: 0-85045-346-1. Mr. Barthorp supplies the narrative and Mr. McBride the color illustrations for this book on the army under the command of the young

Books

47

Duke of Marlborough, sent to the Low Countries to do battle with France in the early years of the eighteenth century. The book will be of most use to fight directors, directors, dramaturgs, actors, costumers, and weaponsmakers. The text is 40 pages in length, offers 27 black and white photographs, 2 line drawn illustrations, 8 color plates (illustrations). William III sent the young Marlborough to the Low Countries to head a multi-national force (very much like the NATO of today) in an effort to stop the land and power hungry Louis XIV of France. List of section titles: Further Reading Chronology of the War of the Spanish Succession Political and Military Background Officers and Men Organization, Armament and Employment Cavalry-Infantry-The British Army in the War of Succession Uniform and Equipment The Plates (illustrations)

the Spanish

Mr. McBride's illustrations reflect the high quality that appears to be the norm in all Osprey publications on military history. Included are renderings of: the Duke of Marlborough, the Austrian Prince of Eugene of Savoy, an English sergeant in the Scots Regiment of Fusiliers, a Danish musketeer, an English grenadier, an Austrian grenadier, a Dutch musketeer, a Prussian grenadier, a trooper in the English dragoons, an Austrian trooper, a Dutch artillery officer, an English gunner, and a Prussian footguardsman. Swordmakers will find a few photographs of weapons, but will have to rely, more often than not, on Mr. McBride's illustrations.

17. Blackmore, Howard L. Arms and Armour. New York: E. P. Dutton and Co., Inc., 1965. **D, M, R, T, E** No ISBN available. Mr. Blackmore, author of British MilitaryFirearms, Guns and Rifles of the World, and Firearms, offers a very useful publication for those interested in reproducing cut and thrust weapons for the stage and screen. The fight director will also find the illustrations of battle scenes of interest. The text is 160 pages long, offers 132 black and white photographs, 23 reproductions of various works of art, and a list of illustrations. Arms and Armour is a pictorial survey that traces the development of post-classical armor from the simple mail shirts and broadswords of the Battle of Hastings (1066, the Norman period) to the modern cavalry breastplate and helmet. Contained in this Dutton Vista Picturebook are some excellent examples (photographs) of chiseled small-sword guards, grotesque style helmets, and black and white armor. There is also a section on armour made for the joust on foot or on horseback. Swords, axes, daggers, crossbows, etc. are pictured and discussed in an effort to demonstrate how each improvement in offensive weapons was countered, until the

48

Stage Combat Resource Materials

introduction of the firearm reduced armour to a mere ornamental covering or symbol of rank. Mr. Blackmore has produced a very concise and compact publication which is easy to read, and out of which salient information can be quickly found. Table of Contents: Chapter 1: The Age of Mail Chapter 2: Early Plate Armour Chapter 3: Crossbows Chapter 4: Gothic Armour Chapter 5: Maximilian Armour Chapter 6: War and Peace Chapter 7: Greenwich Armour Chapter 8: Staff Weapons Chapter 9: Armour for Horse and Woman Chapter 10: Decorated Armour Chapter 11: The Decline of Armour Chapter 12: Small-swords Chapter 13: Eastern Arms and Armour Mr. Blackmore often writes with humor (for example, when he deals with such subjects as Henry VIII's armored codpiece and medieval chastity belts). However, Blackmore never loses his credibility as a scholar. Mr. Blackmore is a past president of the Arms and Armour Society and a Fellow of the Society of Antiquaries of London.

18. Blair, Claude. European and American Arms circa 1100-1850. New York: Crown Publishers, Inc., 1962. **H, R, T, E** No ISBN abailable. Mr. Blair, one of the world's most respected scholars of arms and armor and formerly of the Tower of London Armouries and the Department of Metalwork at the Victoria and Albert Museum, offers a very comprehensive survey of cut and thrust weapons and early firearms, circa 11001850. This is an excellent resource for weaponsmakers, fight directors, directors, actors, and dramaturgs. The text is 134 pages in length, includes 1 color photograph of 12 weapons, and 650 black and white photographs of cut and thrust weapons and early firearms. Also included are 194 line drawings of pommels, swords, hilts, hangers, and sheaths; 30 additional drawings of proof, artisan, and manufacturer marks; and finally, 28 illustrations of antique firing mechanisms. Mr. Blair, always the thorough scholar, also includes an index, a bibliography, and notes on the plates. In Mr. Blair's preface he informs us:

European and American Arms...[is intended as a] convenient guide to the identification and dating of European and American arms (excepting artillery) of the period c. 1100-1850 by providing a large number of illustrations of representative examples...A short survey of the development, decoration, and manufacture of

Books

49

weapons has also been included, but considerations of space have prevented this from being more than a very general introduction to the subj ect. Mr. Blair defines the sword and early firearm not only by period but by type as well. Table of Contents: CHAPTER I: SWORDS AND DAGGERS The Sword The Medieval Sword, c. II DO-c. 1500-The Post-Medieval SwordThe Post-Medieval Cruciform Sword-The Rapier and Its Successors-Short-Swords-Swords with Curved Blades-The Broadsword and the Backsword-The Regulation Sword Daggers and Sheath-knives Sheaths and Hangers The Manufacture of Swords and Daggers CHAPTER II: STAFF-WEAPONS The Making of Staff-Weapons CHAPTER III: PROJECTILE WEAPONS The Sling-The Bow-The Crossbow CHAPTER IV: PROJECTILE WEAPONS: Firearms and other Guns Introduction of Firearms and Early Hand-cannon Systems of ignition-Matchlock- The Wheel-lock-The SnaphanceThe Flintlock- The Percussion-lock General Development of Long Guns The Pistol The Turn-off Pistol-The Pocket Pistol- Pistols with External Mechanisms-The Dueling Pistol-The Scottish Pistol-Breech Loading Firearms Multi-shot and Repeating Firearms Firearms with more than one Fixed Barrel Revolvers-Magazine Repeaters Spring-guns and Air-guns Accessories Accessories necessary for the Operation of the Gun-Accessories for Maintaining Firearms CHAPTER V: COMBINED WEAPONS Weapons combined with other objects not in themselves weaponsCombinations of Two or More Weapons CHAPTER VI: THE DECORATION OF ARMS Inlaid Decoration-Damascening-Incrustation with Gold and SilverEngraving and Etching- Goldschrnelz-Steel-chiselling- Gilding, Silvering, Blueing and Browning- Inlaying of Wood This is an outstanding resource book for those interested in recreating various period weapons. The first 81 pages of the text comprise Mr. Blair's historical

50

Stage Combat Resource Materials

survey; pages 82 through 122 are devoted to illustrations. A representative list of daggers and sheath knives presented includes: Analace-Ballock knife-Baselard-Bayonet-Bowie knifeCinquedea-Dirk-Dudgeon- Ear dagger-HauswehrHolbein-Rondel-Landsknecht-Main Gauche-MisericordePoniard-Quillon dagger-Sax-Schiavona-ScramasaxStiletto-Sword Breaker-Trousse de Chasse Mr. Blair's examination of staff weapons is equally impressive: Ahlspiess-Axe-Bardiche-Bec de Faucon-BillBoarSpear-Burdonass-Brandistock-Catchpole-Chauve Souris-Corseque-Dart-Fauchard-Fork-GisarmeGlaive-Godendag-Halberd-Hammer-Holy Water Sprinkler-Javelin-Jeddart Staff-Lance-LancegayLinstock-Lochaber Axe-Mace-Morning Star-PartisanPike-Poleaxe-Pole Hammer-Sparth-SpetumTornahawk-Vouge Despite Mr. Blair's reference to his work as a survey, it certainly has both depth and breadth. Of special interest to weaponsmakers will be the section on "Combined Weapons." Here those involved in research will find such unique weapons as an eighteenth century Hunting Sword Pistol, a sixteenth century Italian Wheel-Lock Gun and Crossbow combination, a sixteenth century Italian Wheel-Lock Gun and War-Hammer, a sixteenth century Spanish Axe and Wheel-Lock Pistol, a late sixteenth century German Pistol-Dagger, a seventeenth century Gun in the Form of a Sword, and an Italian seventeenth century Carbine with Hammer Attachment. This publication is a "must have" for the serious student of antique European and American arms. European and American Arms stands out as a truly a superior effort of its kind.

19. Blair, Claude. European Armour. London: B. T. Batsford, Ltd., 1958. **M**

No ISBN available. Mr. Blair, formerly of the Tower of London Armouries and, at the time of printing, in the Department of Metalwork at the Victoria and Albert Museum, has penned this comprehensive examination of the medieval knight's armor beginning 1066 A.D. and terminating in the seventeenth century. European Armour focuses exclusively on armor and will be of most use to those seeking to reconstruct medieval armor for the stage and screen. The text is 248 pages in length, offers 66 black and white photographs of extant suits of armor and/or suits pictured in period artwork, 234 line drawings of helmets, various harnesses, portions of suits of armor, and shields. Also offered is a select bibliography, references, and an index. In this publication Mr. Blair chooses to focus exclusively on armor and purposely excludes medieval weapons.

Books

51

Annorers will find a great deal of verbal description on the various parts of the medieval suit of annor, when and why improvements appeared, and how those improvements were implemented. Mr. Blair traces the transition from mail to plate and describes in some detail the several varieties of European Gothic Annour. Table of Contents: Chapter 1: The Age of Mail, c. 1066-c. 1250 Chapter 2: The Introduction of Plate Annour, c. 1250-c.-1330 Chapter 3: Early Plate Annour, c. 1330-c. 1410 Chapter 4: The Great Period, c. 141O-c. 1500 Italian Annour-German Armour-Annour Outside Italy and Gennany Chapter 5: The Sixteenth century, c. 1500-c. 1600 Chapter 6: The Decline, c. 1600-c. 1700 Chapter 7: Tournament Annour Chapter 8: The Decoration of Annour Chapter 9: The Shield Chapter 10: Horse Annour Chapter 11: The Making of Annour Appendix: The Weight of Annour Of special interest will be pages 195-229, which contain figures 67-300, which are entitled "Details of Annour." Here the researcher will find line drawn details of various arms and annor, including: Helmets-Sallets-Collars-Pauldrons-Bascinets-AnnetsGorgets-Legharness-Helms-Close-helmets-GauntletsSabatons-Kettle hats-Burgonets-Vambraces-BreastplatesMorions-Zischagge- Spaudlers-Backplates- ShieldsJousting annour- Fastenings Unfortunately, the book does not offer the fight director much infonnation. In a detailed fashion Mr. Blair describes his subject, its birth, its evolution, its decoration, and finally, its demise.

20. Bosenquet, Henry T. A. The Naval Officer's Sword. London: Her Majesty's Stationary Office, 1955. **R, T, E** No ISBN available. Mr. Bosenquet offers a detailed examination of various swords utilized by naval officers of several nations. The author chooses as his centerpiece the naval swords and dirks in the British National Maritime Museum, but also includes discussion on American and French weapons as well. The text is 240 pages in length, offers 9 black and white photographic plates, 6 diagrams, 22 line drawn figures of swords and dirks, 6 Royal Ciphers and 3 Royal Crowns (marks), an index, and a list of authorities (bibliography). The book begins with "An Introduction to the Sword", which serves as a brief history

52

Stage Combat Resource Materials

of the sword in general. This section includes an attempt to define the sword in terms of its civilian versus military use . Table of Contents: PART ONE Introduction to the Sword Explanation of Terms PART TWO Naval Swords and Dirks in the National Maritime Museum, Greenwich Index to the Above Presentation Swords of the Patriotic Fund at Lloyd's PART THREE "Sword Cutler by Trade" by J. D. Aylward Preferatory Note to the List of Sword Cutlers Selected List of Sword-Smiths, Sword-Cutlers, Goldsmiths and Jewelers, Gold and Silver Lacemen, Naval and Military Tailors, Outfitters and Accoutrement Makers, 1670-1850 London. Provincial Sword-Smiths and Sword Cutlers: Birrningham-Chatham- Edinburgh-Plymouth and DevonportPortsmouth, Portsea, Landport, Southsea and Gosport Bill Heads and Trade Cards Serious students of the development of the sword and swordplay will certainly recognize the name of 1. D. Aylward and his contribution in Part III., "Sword Cutler by Trade." Mr. Aylward, author of Th e Small-Sword in England (see annotation in this bibliography), included in that publication some rather detailed appendices-some of which dealt with the trade of the sword cutler in England during the seventeenth and eighteenth centuries. Mr. Aylward discusses the evolution of the blade from a flat to a triangular section, including an examination of the Colichemarde and Hanger. Mr. Bosenquet traces the influence of the French on both the British and American naval sword; especially within the context of the French turning to the curved blade immediately following the French Revolution. The index is set up according to the following topics: 1. 2. 3. 4. 5. 6. 7. 8. 9.

Admiralty Names Civilian Swords Dirks Donors Hangers Military Swords Ships Sword Smiths

The Naval Officer's Sword is most interesting and useful for its unique focus, naval swords; a focus which imbues it with its personality and, ultimately, defines its specific niche.

Books

53

21. Bowers, Fredson. Elizabethan Revenge Tragedy 1587-1642. Princeton, New Jersey: Princeton University Press, 1940; (reissued in 1966). **R** No ISBN available. Fredson Bowers offers a comprehensive examination of the Elizabethan revenge tragedy. Included is discussion of Elizabeth I's handling of duelists during her reign, the tremendous increase in dueling during the reign of James I, and his subsequent edict against dueling. Bower's book will be of use to fight directors, directors, dramaturgs, and actor-combatants. The book is 288 pages in length and offers an index. Mr. Bowers begins his study by examining the concept of revenge as it would have applied to the Elizabethan. He discusses several instances in which the pursuit of revenge might have been deemed acceptable, if still reprehensible from the Christian perspective. Included in this first chapter is also the recounting of several high profile murders and duels of the period such as the well-known instance in which, In 1607 the Lord Sanquire, who had followed James I from Scotland, was practicing the foils with the fencing master Turner, and had the misfortune to lose an eye in the bout. (29) Apparently upon a visit to France the king, noticing the mutilation, commented that he "was astonished that the giver of the wound was still living." Sanquire was stung by the reproach, and upon his return to England, promptly hired two assassins to kill Turner. He was then just as promptly executed for murder. These are just two of several instances recounted regarding the giving and taking of revenge. Saviolo, who was at the time, all the rage in terms of matters of honor, is quoted several times...as is John Seldon. Table of Contents: Preface I. II. III. IV.

V. VI. VII. VIII.

The Background of Revenge The Background of the Tragedies The Spanish Tragedy and The Dr-Hamlet The School ofKyd Interlude: The Reign of the Villain The Disapproval of Revenge The Decadence of Revenge Tragedy Conclusion

Bowers also discusses the "Code Duello," its Italian origins, the influence of Machiavelli, and the English distrust of anything Italian. Apparently the typical Elizabethan loved to see intriguing Italians on the stage and was quite titillated by plots, machinations, and especially the methodically planned cold-blooded murder. He also discusses the fact that the typical Londoner would have attended public executions for entertainment and would have been far from squeamish at the sight of blood on the stage. This book is a very thorough examination of the context in which duels of honor and judicial duels appear in

54

Stage Combat Resource Materials

the works of such playwrights as Shakespeare, Kyd, Toumer, Webster, and others. It does not have a great deal to offer fight directors in terms of how these combats were practically executed. Dozens of instances of revenge as acted out in Elizabethan and Jacobean dramas are discussed and analyzed. Bowers does an excellent job of helping us enter into the mind of the typical Elizabethan theatre goer and introducing us to what that theatre goer would have expected of revenge tragedy.

22. The British Code of Duel: A Reference to The Laws of Honour, and the Character of Gentleman. London: Knight and Lacey, Paternoster Row, 1824; (reissued by the Richmond Publishing Co., Ltd., 1971). **E** ISBN: 85546-157-8. Here is an excellent example of the flowery prose of the early nineteenth century (1824) as utilized in expounding upon what constitutes a gentleman and when a gentleman is justified in defending his honor. The book will be of most value to the director and dramaturg interested in the social milieu of the duel. The fight director may find the appendices (one of which follows a disagreement of the day which led to pistols at dawn) of some interest. Similarly, the fight director may find some of the punctilio, or pre-challenge and challenge etiquette of note. Also examined are the proscribed duties of a "second." However, the prose is somewhat convoluted and, at times, difficult to follow. For a more succinct examination one might tum to John Lyde Wilson's The Code of Honor; or Rules for the Government ofPrincipals and Seconds in Duelling. The text is 85 pages in length, offers no illustrations, and is followed up by 45 pages of appendices. The beginning of the text is essentially an examination of why the duel was, despite numerous attempts to the contrary, still a very viable institution as of 1824. The writer bases his support of the practice on no less than a single word, honor. However, the author goes to great pains to make it clear he feels that if true gentlemen were behaving in a true chivalric manner, there would be far fewer duels. If one is willing to put up with the excess verbiage, there are occasional jewels to be found. For example, pages 43-44 offer guidelines for the duel with the sword. The author deplores the sword, and makes it very clear that, ...projectile weapons are consonant to the principle of the duel, as relates to guarding against the false pride of strength or agility, since the most delicate sense of honour, and the utmost rectitude of mind, may be found often unaccompanied by these qualities. (34) Heaven forbid one sword duelist be more proficient with the blade than the other. It seems that pistols were, at this time, so untrustworthy, that the hand of Providence was still readily acknowledged in the affair. Marksmanship was not yet an acknowledged skill as technology had, apparently, not yet made that possible. Pages 45-50 give even more detailed information on the duel with pistol. The text, as a whole, is geared for the duel with pistol but the author does not neglect the sword. And certainly much of the etiquette and guidelines for

Books

55

the duel, though practiced into the nineteenth century, had already been firmly established in earlier periods.

23. Bryson, Frederick R. The Sixteenth Century Italian Duel. Chicago: The University of Chicago Press, 1938. **R** No ISBN available. Mr. Bryson, author of The Point of Honor In Sixteenth Century Italy, offers a very scholarly examination of the origins, the code, and the technique of the duel as practiced in Italy during the Renaissance. This is an excellent resource for the fight director, the director, and the actor. There is little here in terms of training and even less for sword or weaponsmakers as there are no illustrations. For those who are especially interested in the preduel formalities, or etiquette of the duel, this book will be a true source of delight. The text is a dense 248 well-documented pages. The book has no illustrations but includes a bibliography and index. The tone of the work is very scholarly and the text is meticulously documented. The primary sources for actual historical duels are names the reader will, after delving into the duel for any significant amount of time, recognize : Brantome, Lignano, Albini, Maffei, and others. These are men of letters who witnessed duels and later chronicled the exploits of the duelists who placed their lives on the line for reputation or honor. The somewhat academic tone of the book might put some readers off, but the information contained here is quite substantial. Table of Contents: PART I: THE TECHNIQUE OF THE DUEL Chapter I: The Challenge Chapter II: The Preparations Chapter III: The Arms Chapter IV: The Combat Chapter V: The Results PART II: THE STATUS OF THE DUEL Chapter I: Reason Chapter II: Law Chapter III: Religion Appendixes: The Origin of the Duel-A Duel in Ancient Greece-A Proposed Duel in the Thirteenth Century-The Duel Alia Macchia-Decision by Lot-War-Controversies over Proposed Duels-A List of ArmsExamples of Actual Duels-The Duel in Poetry-The Duel After the Sixteenth Century-The Duel at the End of the Nineteenth Century Here is a well-spring of information regarding how the challenge was delivered, how the field of honor (the lists) were chosen and prepared, how the arms were arrived at, and even how combatants were handicapped (in the early days of the duel) in an attempt to ensure that neither combatant had the advantage. Also, contained in the appendices one will find "Examples of Actual Duels." Here the reader will discover not only how these duels were fought, but who supervised

56

Stage Combat Resource Materials

them, how a victor was arrived at, and even how the corpse was disposed of when the fight was "to the death." These stories and accounts are largely drawn from Brantome and others who are readily found translated in Hutton's The Sword and the Centuries or Baldick's The Duel. These books place as a priority the recounting of actual duels, whereas Bryson's strengths lie elsewhere, while endeavoring at least to give the reader some anecdotal examples.

24. Brzezinski, Richard and Richard Hook. The Army of Gustavus Adolphus (1): Infantry. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1991. **R, T** ISBN: 0-85045-997-4. Mr. Brzezinski offers the narrative while Mr. Hook furnishes the color illustrations in this book on the organizational reforms and battles of the infantry of Gustavus Adolphus. This book will be of use to fight directors, directors, dramaturgs, armorers, actors, costumers, and weaponsmakers. The text is 48 pages in length, offers 33 black and white photographs, 5 line drawn illustrations, 1 map, 8 color plates (illustrations). Mr. Brzezinski traces the military exploits of Gustavus Adolphus and his attempts to defend Protestantism during The Thirty Years War. He is credited (though the historical evidence is somewhat problematic) with several military reforms, including the conscription army, the doing away with bandoliers, and the introduction of the paper cartridge. List of section titles: Introduction The Swedish Background The Military Background The Conscript Army Conscription-The Provincial Regiments-The Human Cost Mercenaries The Coloured Regiments-The New Coloured Regiments- British Mercenaries Infantry Arms and Armour Lightening of the Musket-Abolition of the Bandolier-SwinesfeathersThe Pike and Pikemen's Armour-Infantry Swords Infantry Uniforms and Clothing Uniform Colours-The German Campaigns-Conclusions The Plates (illustrations) These are perhaps some of the most lush plates which appear in the Men-atArms Series. Mr. Hook's work is both aesthetically pleasing and brimming with historical detail. Included are renderings of a Swedish peasant recruit, a Swedish musketeer, a member of the Old Guard, a musketeer, a pikeman, a musketeer from the King's Lifeguard company, British mercenaries, a pikeman from Mackay's/Monroe's Scottish Regiment, and English musketeer, an Irish and a Finnish musketeer. This small book is an excellent introduction to one of

Books

57

the more interesting and colorful factions involved in the Catholic-Protestant conflict known as The Thirty Years War.

25. Brzezinski, Richard and Angus McBride. Polish Armies 1569-1696 (1). Men-at-Arms Series. London: Osprey Publishing, Ltd., 1987. **R, T** ISBN: 0-85045-763-x. Mr. Brzezinski offers the text and Mr. McBride the illustrations in this book focusing on the indigenous elements of the Polish army circa 1569-1696. The text will be of most use to fight directors, directors, dramaturgs, actors, costumers, armorers, and weaponsmakers. The text is 48 pages in length, offers 25 black and white photographs, 9 line drawn illustrations, 1 map, 8 color plates (illustrations). According to Mr. Brzezinski: Much of the material presented here is previously unpublished even in Poland, and is based on research from primary sources, archives and museums throughout Europe, and on the mountains of Polish literature on the subject. (4) This particular Osprey entry takes as its central focus those portions of the Polish army that were comprised of Polish nationals. There was a substantial portion of the army during this period which was made up of forces raised along the foreign frontiers (especially Germany), but that is the topic of another Osprey Men-at-Arms entry by Mr. Brzezinski entitled Polish Armies 1569-1696 (2): The Foreign Autorament. List of section titles: Introduction The Polish-Lithuanian Commonwealth-Military Dress and FashionKings of Poland Chronology Organisation and Recruitment The Polish Autorament Cavalry Hussars (Husaria)-The Lisowski Cossacks-Light Cavalry Infantry Early Polish Infantry-Haiduks-Wybraniecka Infantry The Lithuanian Army Pospolite Ruszenie (Levy of the Nobility) Flags, Command Insignia and Field Signs Flags-Insignia of Command-Field Signs The Plates (illustrations) Those looking for information on the Polish Hussar's (lancers) will appreciate this small book so rich in information and illustrations. Many of the black and white photographs offered are reproductions of period artwork. However, armorers will find several black and white photographs that exhibit extant

58

Stage Combat Resource Materials

armor, helmets, and chain mail. Unfortunately, weaponsmakers will not fare as well. They will have to rely almost totally on Mr. McBride's illustrations.

26. Bull, Stephen. An Historic Guide to Arms and Armor. New York: Facts on File, 1991. **1, B, D, V, M, R, T, E** ISBN: 0-8160-2620-3. Mr. Bull has produced a truly stellar resource on arms and armor for weaponsmakers, armorers, fight directors, directors, and dramaturgs. Included in the text's 224 pages are over 265 photographs, 66 color and black and white reproductions of artwork, an index, and bibliography. Stephen Bull has done for arms and armor what Arthur Wise did for dueling with his The Art and History of Personal Combat. There is the occasional reproduction of Renaissance pike drills from period texts and artwork which illustrates various famous battles, but the focus most definitely remains on the weapon as opposed to examining how they were used in action. However, the illustrations of various battles and confrontations contained in this text can offer the fight director more information than might at first be anticipated. Table of Contents: 1. 2. 3. 4. 5. 6. 7.

The Greeks and the Romans From the Dark Ages to the Crusades The High Middle Ages From the Renaissance to the Sun King From "Brown Bess" To Maxim Oriental and Tribal Arms and Armour Sporting Arms and Armour

Here is contained a masterful blend of scholarship, art history, and photographic reproductions of hundreds of pieces of arms and armor. The scope of the publication is described in Mr. Bull's Introduction: The present work is intended to provide the beginner with an introduction to the subject and to give the more specialized reader food for thought by setting arms in context in a handy one-volume reference. The field is so vast that it has necessarily to be limited in terms of both chronology and the types of weapon covered. Anthony North (author of An Introduction to European Swords and contributor to A Complete Encyclopedia of Arms and Weapons) edits and offers the foreword to this impressive piece of scholarship.

27. Burt, Payton H. Of Paces. North Hollywood, Ca.: By the author, 1993. **R, T, E, H**

Books

59

No ISBN available. Mr. Burt, a Certified Instructor with the Society of American Fight Directors, offers a "How-To" manual on footwork for theatrical fencing. Of Paces is a distillation and adaptation of techniques found in sixteenth century manuals by such Italian masters as Giacomo Di Grassi, Achille Marozzo, and Rodolfo Capo Ferro. This small textbook will be of most use to instructors of theatrical fencing, fight directors, and actor-combatants. It is 38 pages in length, offers 6 line drawn illustrations, 78 diagrams on footwork, and a glossary of terms. Those wishing to obtain this unpublished manuscript may do so by contacting Payson H. Burt directly. Contact information for Mr. Burt can located on the SAFD web site at: www.SAFD.org.Inhisintroduction.Mr. Burt explains how he and fellow SAFD instructor, Brad Waller, began to experiment with "fighting in a circle" (common during the Renaissance, but discarded with the ascendancy of the linear footwork associated with the small-sword and modem competitive fencing) . They soon encountered various obstacles to defining their terminology. This precipitated "going back to the old fight manuals of the sixteenth and early seventeenth centuries." They soon discovered each of the early masters had their own individual methodology. Undaunted, they launched into an attempt to discover the "common ground" among the masters. Mr. Burt's manual is essentially a textbook for teaching the system that resulted from their in-depth study of the techniques published by the early Italian masters. Table of Contents: Introduction 1. The Star 2. The En garde 3. Linear Steps a. Advance/Retreat b. Passing c. Lunging and Combinations 4. OffLine Steps 5. Variations on the Steps 6. Drilling a. Changes in OffLine Steps When in a One Foot Stance b. Use of the Star 7. The Half Passe a. The First Half b. The Second Half c. Off Line Steps with a Half Passe 8. Size of the Steps a. Linear Steps b. OffLine Steps Glossary ofTerrns This is a very informative and useful text booklet. It is not only a distillation of the work of the early Italian masters, but it offers a succinct and accessible system for communicating with the actor-combatant about centering, forward movement, retreating movement, on versus off-line movement, circular

60

Stage Combat Resource Materials

movement, linear movement, angles of approach, angles of retreat, and distance. Mr. Burt's use of a "star" (depicted in diagram form in the text) taped on the floor, and the angles which result in respect to the "line of engagement," allow him to attach specific names such as the "thwart" and the "slip" (terms derived from the ancient fencing manuals) to define specific angles for advancing, retreating, and traversing the center line. Of Paces is excellent supplemental text for the instructor engaged in teaching broadsword, single rapier, rapier and dagger, transitional rapier, and small-sword legwork.

28. Byam, Michelle. Arms and Armor. New York: Alfred A. Knopf, 1988. **8, B, I, D, M, R, T, E**

ISBN: 0-394-89622-x. Michelle Byam offers her entry in the Eyewitness Books Series. This particular offering in the series surveys arms and armor from the Stone Age through the nineteenth century. This is an excellent resource for the weaponsmaker and fight director. The text is 64 pages in length with over 230 photographs (primarily in color), 110 reproductions of artwork and engravings, and an index. Michelle Byam offers the text and Dave King offers the photography in this photo essay examining "...the design, construction, and uses of hand weapons from a Stone Age axe to the revolvers of the Wild West." The focus of this survey of weapons through the ages is on its photographs. The scope of weapons pictured is quite impressive, often including the unusual and bizarre. Here the weaponsmaker and fight director will find dozens of high quality color close-up photographs of such weapons as boomerangs, spears, throwing knives, throwing axes, halberds, daggers, helmets of various periods, armor and weapons of the Roman Legions and Greek Armies, Viking armor and weaponry, European broadswords, the longbow and crossbow, plate and mail armor, Persian and Indian armor, Japanese swords and armor, various firearms from the sixteenth through the nineteenth centuries, and various bizarre hand weapons. Table of Contents: I. II. III. IV. V. VI. VII. VIII. IX. X. XI. XII. XIII. XIV. XV.

Prehistoric Weapons Missile Weapons The First Warriors A Roman Legionary Weapons from the Dark Ages European Swords Crossbow versus Longbow Axes, Daggers and Knives Plate and Mail Armor A Suit of Armor Helmets Tilting Armor An Indian Warrior (India) Indian Weapons (India) A Japanese Samurai

Books XVI. XVII. XVIII. XIX.

xx. XXI. XXII. XXIII. XXIV. XXV. XXVI. XXVII.

61

Early Firearms Flintlock Firearms Dueling Swords Dueling Pistols Attack by Highwaymen Bizarre Hand Weapons Grenadiers and Cavalry Keeping Law and Order The Percussion Revolver Pistols Guns that Won the West (American) North American Indians

Ms. Byam's editorial comments are enlightening, informative, brief, and entertaining. She complements without taking focus from Mr. King's photographs. She draws from several resources so as to place the various weapons into context historically. Illustrations are frequently reproduced from famous artists such as Remington, Sidney Paget, Thomas Rowlandson, Robert Cruikshank, George Cruikshank, and Jacques Callot. These illustrations frequently reveal the weapon at work in a duel or on the battlefield. Many of the illustrations (as opposed to Mr. King's photographs) can also be found in such publications as Arthur Wise's The Art and History ofPersonal Combat-but just as many appear to be unique to this publication.

29. Carlyle, Thomas. English and Other Critical Essays. London: J. M. Dent and Sons, Ltd., 1915; (reprinted 1967). **R, T** No ISBN available. Mr. Carlyle offers a chapter entitled "Two-Hundred and Fifty Years Ago-Duelling." The book will be of interest to fight directors, directors, actors, and dramaturgs. The text is 341 pages in length. The chapter on dueling is 11 pages in length, offers no illustrations, bibliography, or index. Mr. Carlyle offers a chapter that presents three armed encounters in the time of James I of England. The first duel recounted took place between Gervase Markham and John Holles in Sherwood Forest. Markham paid for his comments in a duel in which Holles delivered a thrust through his body-a thrust that everyone incorrectly thought to be a fatal one. Markham survived and the matter was at an end. The second duel involved Sir Thomas Dutton and Sir Hatton Cheek. It seems that Dutton took issue with the tone in which his superior officer, Cheek, delivered some commands. Soon after Dutton resigned his commission, went back to London, and proceeded to talk up the issue. Eventually, Cheek presented Dutton with a challenge to meet him on the sands at Calais. The reader will have to pursue this publication to discover the outcome of this particularly vicious duel. "Two-Hundred and Fifty Years Ago-Duelling" offers some very interesting details on how duels were conducted during the time of James I of England. Mr. Carlyle is also the author of Historical Sketches of Notable Persons and Events in the Reigns of James I

62

Stage Combat Resource Materials

and Charles 1. In this earlier publication (1902) Mr. Carlyle chronicles the fascinating affair of the "Sackville-Bruce Duel" (circa 1613). He does not go into great detail in terms of fencing technique, but it does clearly present the brutal nature of this supposedly civilized exercise. The fight director may wish to read further of this fascinating and brutal encounter which included Bruce's surgeon grasping the weapon of the downed duelist and attacking the seriously wounded Sackville.

30. Cass, Eleanor Baldwin. The Book of Fencing. Boston: Lothrop, Lee and Shepard, Co., 1930. **H, R, T, E** No ISBN available. The Book ofFencing is a mixture of historical scholarship, statistical reports, explanation of technique, approach to theatrical fencing, suggestions for drills and exhibitions, class syllabus, and philosophical approach to private coaching. This rather lengthy text will be of use to fight directors and instructors of stage combat. The text is 380 pages in length, offers 45 black and white photographs of techniques and luminaries of the fencing world (including the Bertands and Ralph Faulkner, film choreographer and 1929 Pacific Coast Sabre and Epee Champion), 34 line drawings, a reading list, and index. Mrs. Cass has produced a highly engaging and informative publication. Here is presented a fascinating look at state of the art American fencing circa 1930 by one of the preeminent American figures in the sport. The publication is liberally peppered with photographs inscribed to her, poems about fencing dedicated to her, and other offerings by such luminaries as Leon (author of Cut and Thrust) and Felix Bertand, Lucien Gaudin (1929 World Amateur Foil Champion), and Dr. Graeme M. Hammond (President of the American Olympic Association, 1928). Table of Contents: PART I: HISTORY OF THE SWORD Chapter 1: Development of the Sword Chapter 2: General Terms and Principles Chapter 3: The Development of Swordplay Chapter 4: The Duel. PART II: THE SCIENCE OF FENCING Chapter 5: The Foil Chapter 6: Fencing Positions Chapter 7: Class-Work Chapter 8: The Salute According to Various Masters Chapter 9: Drills and Exhibitions Chapter 10: Private Lessons Chapter 11: The Making of a Champion Chapter 12: Customs and Phraseology Chapter 13: The Epee Chapter 14: The Sabre Chapter 15: Olympic Rules Chapter 16: Fencing Scene From Hamlet

Books

63

Chapter 17: Duel Arranged for Pantomime Chapter 18: Social Phases PART III. CONTEMPORARY ACTIVITIES Chapter 19: Masters in Europe and America Chapter 20: Sectional Activities Chapter 21 : Captain's Report for American Olympic Team Chapter 22: Participants in the Eighth Olympiad Chapter 23 : The Corble Collection (An International collection of publications and weapons owned by Archibald H. Corble; included are publications in English, French, Italian, Spanish, German, Swedish, and Dutch) Chapter 24: The Thompson Trophy (An International Competition between England and America) Chapter 25: Former Championships Chapter 26: Olympic Champions Chapter 27: Fencing Rules Chapter 28: Fencing Clubs in Europe and America Mrs. Cass's style is one which is easily accessible and without pretense in its explication of technique. Those interested in teaching theatrical fencing will find her descriptions helpful. Her outline of a year long class is an excellent blueprint for establishing a syllabus. Similarly, her suggestions on private lessons provide some simple combinations that teachers can adjust for the stage combat class. The chapters on the history of the blade and dueling offer a concise narrative covering virtually everything a teacher might require should they determine to lecture on the duel and weapons of various periods. The sections covering drills for exhibition are at times somewhat difficult to decipher, but appear as if they might be entertaining to attempt. There is also a chapter that describes several salutes which have been taught by prominent masters since the early 1800s.

31. Cassidy, William. The Complete Book ofKnife Fighting. Boulder, Co.: Paladin Press, 1975. **H, B, I, D, V, M, R, T, E** ISBN: 0-87364-029-2; LCCN: 75-25207. Mr. Cassidy offers some techniques coupled with a survey on the history and development of knife fighting. The book will be of use to fight directors and instructors involved in staging or teaching knife fighting for the stage and screen. The book is 121 pages in length, offers 77 black and white photographs, 14 line drawn illustrations, and a bibliography. Mr. Cassidy begins by examining the contributions of such trailblazers as W. E. Fairbairn, A. 1. D. Biddle, Rex Applegate, and John Styers. He then goes on to examine the development of several forms of the fighting knife. The final portion of the book is devoted to knife fighting techniques. Table of Contents: Part I: The Techniques

64

Stage Combat Resource Materials

Historical Development The Renaissance of Knife Fighting W. E. Fairbairn-A. J. D. Biddle-Rex Applegate-John Styers The Rationale of Technique The Eastern Science Iai-jutsu and Kenjutsu-A Method of Practice Part II: The Tools Historical Development Tools of the Trade Knuckle Knives-The Mark I-The Mark III-Custom KnivesSwitchblades-Folding Knives-The Push Dirk-Boot and Sleeve Knives-The Kukri and the Kris-The Tactical-Survivor Concealment and Methods of Carry Part III: The Tactics By Way ofIntroduction The Sneak Attack Basic Instruction Grip-Stance-Thrusting-Slashing-Mental Discipline Tactical Movement Random Observations Style and Maneuver A Comparison of Form Defense The techniques described will need to be safely adjusted for the stage or screen. Mr. Cassidy offers some very interesting "moves," grips, modes of carrying a concealed knife, and methods of defense against a knife attack (including use of a convenient dead branch), and fencing technique applied to knife fighting.

32. Cassin-Scott, Jack. The Greek and Persian Wars 500-323 B.C. Men-atArms Series. London: Osprey Publishing, Ltd., 1977. **B** ISBN: 0-85045-271-6. Mr. Cassin-Scott furnishes both text and illustrations for this book on the various conflicts between the Greek states and Persia circa 500323 B.C. It will be of most use to fight directors, directors, drarnaturgs, actors, costumers, armorers, and weaponsmakers. The text is 40 pages in length, offers 25 black and white photographs, 3 maps, 8 color plates (illustrations). Mr. Cassin-Scott begins this introduction to Greece's war with Persia by discussing the Ionian revolt, the defeat of the Ionians at Ephesus, and the subsequent invasion ofthe Greek mainland. List of section titles: The Ionian Revolt Marathon Thermopylae Salamis Plataea and Mycale

Books

65

The Peloponnesian War Alexander the Great The Plates (illustrations) Mr. Cassin-Scott's illustrations are of the high calibre that appears to be the standard for the Men-at-Arms Series. Included in his color illustrations are a Persian standard bearer, a Persian Immortal spearman, a Persian archer, two Arab cavalrymen, a Greek light infantryman, a Greek heavy infantryman (hoplite), a Greek slinger, a Persian cavalryman, a Greek archer, a Cretan archer, a Phrygian heavy infantry mercenary, a Persian spearman, a Persian officer, a Greek cavalryman, a Thessalian cavalryman, an armored infantry hoplite, and several armored infantry. Many of these illustrations feature warriors in battle. Fight directors, armorers, weaponsmakers, and especially costumers will appreciate the detail in Mr. Cassin-Scott's illustrations. The text, complemented by these illustrations, offers an excellent introduction to the Greek and Persian Wars.

33. Castle, Egerton. Schools and Masters of Fence. London: George Shumway, Publisher, 1885; (3rd edition printed 1969). **M, R, T, E** ISBN: 87387-030-1; LCCN: 73-89562. This publication, penned by Egerton Castle-one of the nineteenth century's foremost authorities on the history of fencing-is undoubtedly one of the best sources any student of swordplay or personal combat could turn to regarding information on the evolution of dueling and fencing. Here is an excellent general resource for fight directors, swordmakers, actors, and directors. The 254 pages of text offer 141 illustrations (including 6 black and white photographic plates of 108 swords and daggers), an index, and a bibliography. The hundreds of illustrations included should be of great interest to choreographers, as will be the descriptions of the various masters' techniques of swordplay. Swordmakers will undoubtedly enjoy examining the six black and white photographic plates of dozens of rapiers, small-swords, daggers, broadswords, basket-hilted swords, and transition rapiers. Mr. Castle's book is an examination of the great schools and masters of fencing down through the centuries. He begins with a cursory examination of combat in the Middle Ages but quickly moves on to his primary focus, the Renaissance through the Age of Enlightenment (the sixteenth-eighteenth centuries). Mr. Castle's study is primarily rooted in the extant texts and illustrations from the various periods he chose to explore. One need only look at the bibliography of this thorough study to see just how tenacious Mr. Castle's scholarship is. Over 250 entries appear from the sixteenth, seventeenth, and eighteenth centuries in Spanish, Italian, German, French, and English. Table of Contents: Introduction The Modem Neapolitan School and the old Rapier-play- Object of the work-Fencing in pictures, in historical novels, on the stage-Periods in

66

Stage Combat Resource Materials

the history of Art: the "Sword," the "Rapier," and the "Small Sword"Modem foil-fencing-Broad principles of the Fencing Art Chapter I The art of individual fighting in the Middle Ages-Tournaments and Schools ofFence-Sword dancers-Sword-men and gladiators-Sword and buckler and "Swashbucklers"-Obnoxious nature of early fencing schools-The chartered Corporation of Maisters of Fence under the Tudors-Introduction of Rapier-play in England-National prejudice against the new-fangled weapon-G. Silver's "Briefe sketche of three Italian Teachers of Offence"-Ancient Teutonic schools of fence-The "Marxbruder," the "Federfechter," and the "Luxbruder"-Ancient fencing schools in Spain-Degrees in arms in the Corporation of Fencing-masters in Spain-Early Italian schools of arms Chapter II Antonio Manciolino and Achille Marozzo-Classification of cutsFanciful guards of the early Italian schools-Marozzo's progressionPractice in the fencing room-Oath exacted from new pupils-Camillo Agrippa's system-Numerical guards and Free use of the point-Giacomo Di Grassi-Typical system of early rapier-lay Chapter III Early sixteenth century fencing schools in France and foreign masters-"La noble science des joueurs d'espee"-Henri de Sainct Didier-Mania for duelling under the Valoi-Angelo Viggiani-First definition of the lunge Chapter IV Geronimo Sanchez Carranza-The "Father of the Science of Arms in Spain"-Don Luis Pacheco de Narvaez's progression-Early fourteenth century fencing schools in Germany-The Schwerdt and the DusackJoachim Meyer-Jacob Sutor-German fencing terms Chapter V ''Vincentio Saviolo his Practice"-The Rapier alone-Rapier and daggerGeorge Silver's "Paradoxes of Defence" Chapter VI Salvator Fabris-"Guardia" and "contrapostura"-Rules for engagement amd disengagement Chapter VII The Cavalcabos of Bologna-Nicoletta Giganti-The "botta lunga"Ridolfo Capo Ferro Chapter VIII Early years of the "Academie d'Armes"-Italian and Spanish masters of fence in France-Girard Thibaust d'Anvers-"Academie de l'Espee"-The Mysterious Circle Chapter IX Franceso Alfieri-Allesandro Senese-Morsicato Pallavicini-The French school of the seventeenth century-Le Perche du Coudray-Charles Besnard-The French foil-Philibert de La Tousche- Jean Baptiste Le Perche Chapter X

Books

67

Liancour-"Academie d'Armes" in France- The "Confrerie de Saint Michel" at Ghent-Labat-Girard Chapter XI Small-sword fencing and the French "salle d'armes" -Guillaume Danet-The numerical nomenclature-Danet's theory-La Boessiere-Dissolution of the "Compagnie des Maitres en fait d'Armes" Chapter XII The Art ofFence in Spain, in Italy, and in Germany during the eighteenth century-The Modern Neapolitan School-The Schlager Chapter XIII The Art ofFence in England during the seventeenth century-Gladiators and stage fights-Sir William Hope-The "Scots Fencing Master"-The "Sword-man's Vade-Mecum"-The Society of Sword-men in Scotland"Vindication of the true Art of Defence"-Gladiator's stage fights-Noted Prize-fighting Fencing masters-The Practice of the Back Sword-Singlesticks Chapter XIV Angelo in Paris and in London-"L'Ecole des Armes "-Angelo's fencing rooms-Andrew Lonnergan-Olivier-J. McArthur-Roworth-Practice of the Broadsword and the Spadroon-Modern English Fencing Schools Chapter XV Ancient Swords compared with modern ones-The four periods of the modern history of the Sword in Europe-Medieval Swords-The "Rapier"-Component parts of a complete hilt: Guards and Counter-guards, Quillons, Rings, Pas d'ane and Knuckle-bow-Various forms of blades: the "Ricasso"-Typical Rapier hilts: bar, shell, and cup hilts-The "Flamberg"-Transition Rapier-The "Colichemarde"-The Small Sword-Various forms of Broadsword hilts- "Schiavone," "Claymores," and "Mortuary" Swords-Daggers-"Misericorde," "Main Gauche" and "Stiletto"-Foils-Rebated Swords and Fleurets-Wasters and Singlesticks One need only look at the list of illustrations borrowed from the "masters'" publications to comprehend what a true gold mine of information is here at hand.

34. Chartrand, Rene and Francis Back. The French Army in the American War of Independence. Men-at-Arms Series. London: Osprey Publishing, Ltd.,1991. **E** ISBN: 1-83332-167-X. Mr. Chartrand furnishes the narrative while Mr. Back offers the color illustrations in this introduction to the French military forces aiding America in its war for independence from Britain. The book will be of use to fight directors, directors, dramaturgs, actor-combatants, costumers, and weaponsmakers. The text is 48 pages in length, offers 40 black and white photographs and 8 color plates (illustrations). The text begins by placing the

68

Stage Combat Resource Materials

French army in America in context, as it had just been soundly defeated by the British army in the Seven Year's War (the French and Indian War). List of section titles: Chronology The Legacy of the Seven Year's War Reforms of the Army-Reforms in the Navy-Reforms in the Colonial Army War with Britain The West Indies-The United States- The East Indies-Other Areas Uniforms The Metropolitan Army-The 1779 Uniform-Royal-Artillery-Marines and Bombardiers-Colonial Infantry and Artillery-Foreign Volunteers Raised in Europe-West Indian Volunteer Corps-Indian Sepoys and Volunteer Corps-Officers and Drummers-Tropical Dress-Alliance Cockades-Conclusion-Bibliography The Plates (illustrations) Mr. Back's illustrations are of the high calibre that seems to typify Osprey's numerous publications on military history. Included in his color plates are varying types of French soldiers in active service in America during the Revolutionary War.

35. Chartrand, Rene and Francis Back. Louis XIV's Army. Men-aI-Arms Series. London: Osprey Publishing, Ltd., 1988 (reprinted in 1989). **R, T** ISBN: 0-85045-850-1. Mr. Chartrand supplies the narrative while Mr. Back pens the color illustrations for this introduction to the various regiments in the armies of Louis XIV of France. The book will be of most use to fight directors, directors, dramaturgs, costumers, actor-combatants, and weaponsmakers. The book is 48 pages in length, offers 43 black and white illustrations and 8 color plates (illustrations). This age saw sweeping reforms take hold in the armies of France. Included in these reforms was the resurrection of the Mousquetaires de la Garde (Musketeers of the Guard), which had existed under Louis XIII but had since been disbanded. D'Artagnan, one of the heroes of Dumas pere's The Three Musketeers really did exist; he was Captain of the 1st Company from 1667 until his death at the siege of Maestricht in 1673. List of section titles: Chronology The Era of Louis XIV The Army of 1661 Reorganisation and Administration-Expansion and ManpowerCommand Units, Uniforms and Weapons: Maison du Roi

Books

69

Gardes du Corps (Body Guards)-Gendarmes de la Garde (Men-at-Arms of the Guard)-Chevaux-Legers de la Garde (Light Horse of the Guard)Mousquetaires de la Garde (Musketeers of the Guard)- Grenadiers a Cheval de la Guard (Horse Grenadiers of the Guard)-Gardes Francaises (French Guards)-Gardes Suisses (Swiss Guards)- Gendarmerie de France (Men-at-Arms of France) Line Infantry Weapons and Tactics- Militia Line Cavalry Weapons and Uniforms-Hussars-Dragoons-Artillery Colours and Standards The Plates (illustrations) Bibliographic Note Color plates include: pikemen, musketeers, Garde du Corps, a Grenadier a Cheval, troopers, fusiliers, various dragoons, and several militiamen. This is an excellent introduction to the equipment, uniforms, and weapons of the French military during the seventeenth century.

36. Clements, John. Renaissance Swordmanship: The Illustrated Use of Rapiers and Cut-and-Thrust Swords. Boulder, Co.: Paladin Press, 1997. **H, R, T, M**

ISBN: 0-87364-919-2. Mr. Clements offers a "How-To" manual on sparring with rapier, rapier and dagger, rapier and cloak, rapier and buckler, and cut-andthrust sword as well as other weapons common to the Renaissance. It should be stressed that Mr. Clements is attempting to generate interest in rediscovering Renaissance-style swordplay as hobby and martial exercise and not as a theatrical art form. He has an openly stressed agenda which is an attempt to strip Renaissance swordplay of the supposed baggage which has been attached to it via the development of competitive fencing technique and the influence of the "Hollywood" swashbukler movie as typified by the performances of Errol Flynn, Basil Rathbone, Cornel Wilde, et a1. Although fight directors and actor/combatants may find his book of some interest it must be stressed that it offers no insight into working with a partner, only someone in an adversarial capactiy. Mr. Clements has obvioulsy taken a great deal of time to become familiar with many of the major "how-to" manuals produced during the sixteenth, seventeenth, and eighteenth centuries. He quotes from them and makes mutitudious references to them. He does not, however, clearly articulate the next step--which is how those historical manuals have led him to the devleopment of the techniques he advocates. He expends a great deal of print and illustrations on weapons of the period-and stresses how safety is most important in theatrical swordplay-yet, curiously, does not discuss the protective equipment which might allow paticipants to engage in the sort of "sparring" which he advocates . Table of Contents:

70

Stage Combat Resource Materials

Introduction Author's Note Chatper I: The Rapier Chapter 2: The Small-Sword Chapter 3: Cut-and-Thrust Swords Illustrations: Weapons and Their Use Epilogue Advice to Readers Bibliography Mr. Clements book is most successful in it's discussion of the various weapons utilized during the Renaissance and the evolution of weaponry and fighting styles. He makes liberal use of line drawn illustrations, but technique is discussed only in the most general of terms. For example, there is virtually no discussion of specificity of targeting and how specific parries were developed to protect against specific attacks to specific targets on the body. He frequently disparages the bad habits that theatrical swordplay instills in those who would seek to spar (sparring does have it's benefits for the theatrical fencer-as does competitive fencing-as both instill in the participants a sense of what it is like to attempt to make the touch without being hit, as well as a true sense of fencing measure and just how quickly distance can be covered), but appears to have a rather tenouous grasp on what theatrical swordplay attempts to accomplish. What he describes is, indeed, poorly staged combat; combat in which the combatants attack each others' swords. Well-staged combat has strongly defined intent behind each cut and thrust and is generally executed on-line. The participants simply work out of distance, making a hit impossible..,unless distance has been purposely closed to facilitate a wound or kill. However, Mr. Clements' frequently attempts to compare apples to oranges. With the appearance of Dale Girard's Actor's On Guard, publications such as Mr. Clements'-in which fight directors must make serious adjustments to either sparring or competitive techniques-have been relegated to secondary consideration.

37. Clephan, R. Coltman. The Tournament: Its Periods and Phases. New York: Frederick Ungar Publishing, Co., 1919; (reprinted 1967). **M** LCCN: 67-26125. Mr. Clephan has penned a very scholarly and comprehensive study of the tournament and the joust, including an examination of the judicial duel. This book will be of interest to the fight director, the director, the dramaturg, the armorer, and the actor-combatant. The text is 195 pages in length, offers 13 black and white photographs, 7 appendices, an index, and an extensive international bibliography. Mr. Clephan, author of Defensive Armour, Weapons and Engines of War, begins in the eleventh century and examines the tournament (including the tournament, the melee, the joust), and all its accompanying pomp and circumstance, from its beginnings to its nadir in the

Books

71

sixteenth century. He also discusses the duel "a outrance" (a refereed combat to the death). Table of Contents: Chapter I- discusses the rules of the tournament as well as the rules of the joust circa 1066. It also explores the "Round Table" held in 1389, the use of the quintain, and judicial duels properly classed with the tournament. Chapter 2- discusses jousts of peace and jousts a outrance (to the death) . Also covered in this chapter is discussion on body armour of the twelfth and thirteenth centuries and penalties for breaking the rules. Of special interest in this chapter is discussion on the gambeson and the transition to plate armor. Chapter 3-focuses on the fourteenth century and includes discussion on the introduction of firearms and the Romances of Richard Coeur de Lion. Chapter 4-covers the fifteenth century and the introduction of the tourney milder and the strengthening of body armor. Also discussed is the less costly armor made in Germany and the Emperor Maximilian's importing of Italian smiths. It is during this century that Germany gradually becomes the chief center of the industry. Chapter 5-discusses reinforced "tilting armor" and describes the "lists" circa 1443. Also covered are "challenges" of the period, combat on foot, and jousting at the tilt. Chapter 6--discusses myths that surround the tournament as well as narrations of chroniclers on the subject. It is during the early sixteenth century that the tournament reaches its highest development. This chapter also discusses the decline of the tournament and jousting with pointed lances. Chapter 7-examines jousting in England, tournaments during the reign of Hemy VIII, and Hemy's accomplishments as a jouster. Chapter 8-discusses the introduction of the trial by combat into England by the Normans and its curious interlinking with common law. Various methods of dueling are discussed such as the duel with spiked shields, spiked clubs and with shields, swords, and daggers. The "coup de Jarnac" is discussed as well as an irregular duel in the lists at Sedan. The topics listed above are far from exhaustive. Mr. Clephan makes excellent use of primary sources and recounts episodes from several tournaments and duels. The armorer will, no doubt, find the photographs of extant armor of interest. The fight directors will appreciate the narrative and its accounts of various armed encounters.

38. Coe, M., P. Connolly, A. Harding, V. Harris, D. J. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. New York: Weidenfeld and Nicholson, 1989. **S, B, I, D, V, M, R, T, E** ISBN: 1-55584-290-9. The authors present a very impressive and handsomely mounted piece of scholarship on both Eastern and Western swords, daggers, and other hilted weapons throughout the centuries. The scope is from the flint

72

Stage Combat Resource Materials

chipped blades of the Stone Age to the finest Damascus steel. The book will be of most use to weaponsmakers (especially those producing swords and daggers), fight directors, and dramaturgs. Costume designers may find the many portraits from various periods of use. The text is 239 pages in length; offers more than 400 illustrations including hundreds of color photographs of swords, daggers, illustrations from fighting manuals and artwork from various periods. Also included is "Major Collections of Hilt Weapons," a bibliography by chapter, a list of photographs and illustrations by chapter, and an index. Several of the world's greatest authorities on the sword contribute to an impressive survey of the sword and hilt weapons from several epochs and cultures. This superbly illustrated and comprehensive book covers nearly 4,000 years of sword-making, starting with the beginnings of the Stone Age cultures and going on to document the sword, both as a practical tool and as a work of art, throughout history. Though the emphasis is on the weapon, as opposed to how it was used, the fight director will still find several references to various duels and encounters in the lists and on the battlefield. Table of Contents (chapters ten through fifteen do not have subheadings listed here, as those chapters do not properly fall within the scope of this study): Introduction (by Victor Harris) 1. Stone, Bronze and Iron (by Anthony Harding) Early hilt weapons-The first metal weapons-The Aegean world-The European dimension-The age of iron 2. Greece and Rome (by Peter Connolly) Archaic and Classical Greece-Etruscans and Latins Roman expansionImperial Rome 3. Barbarians and Christians (by Anthony North) Saxons and Vikings- Elusive Byzantium-Ceremonial swords-Falchions and wheel pommels-The twelfth and thirteenth centuries-Fragments from the Crusades- The challenge of plate armour-Knives and daggers 4. The Renaissance Spirit (by Donald J. La Rocca) From cutting to thrusting-Towards the developed hilt-The fifteenth century- The sixteenth century-Ceremonial swords- Tournament swords-Hunting swords-Daggers-Fencing-The decorative arts 5. From Rapier to Small-sword (by Anthony North) Variations on the swept-hilt theme- Cup-hilt rapiers and other variantsLight rapiers- Rapier blades-Small-sword hilts-Small-sword bladesDuels and duellers-Small-sword ornaments 6. Seventeenth Century Europe (by Anthony North) The demise of the cross-hilt-Basket hilts-Brass hilts and increasing standardization- Curved swords-Hangers-Sculptural and exotic hiltsDirks and stilettos- The first bayonets-The sword trade 7. Eighteenth and Nineteenth Century Europe (by Anthony North) Eighteenth century military patterns-The cavalry sabre- Production at Tula-Other eighteenthcentury hilts-The rise of Bonaparte-Makers' marks- Presentation swords-The age of industry-Naval swords- Knives and daggers- The fake business

Books 8. 9.

10. II. 12. 13. 14. 15. 16.

73

Combination Weapons (by Anthony North) Blade and firearm combinations-Concealed weapons-Arms of the chase American Swords and Knives (Frederick Wilkinson) The colonial period-The Continental Army and independence-The early nineteenth century-Bowie and his knife-Union and Confederacy-Into the twentieth century World Wars I and II (by Frederick Wilkinson) Swords oflslam (by Anthony North) Japanese Swords (by Victor Harris) China and Central Asia (by Thorn Richardson) India and Southeast Asia (by Frederick Wilkinson) African Hilt Weapons (by Christopher Spring) Pre-Conquest America (by Michael D. Coe) North America-Mesoamerica-South America-The horse and the sword on a new continent

Anthony North (Senior Research Assistant, Department of Metalwork, Victoria and Albert Museum) offers much of the text on the medieval period, the later Renaissance, and the eighteenth century; contributing a total of six out of the book's sixteen chapters. 39. Cornish, Paul and Angus McBride. Henry VIII's Army. Men-aI-Arms Series. London: Osprey Publishing, Ltd., 1987. **R**

ISBN: 0-85045-798-X. Mr. Cornish supplies the text while Mr. McBride offers the color illustrations for this introduction to the standing armies of Hemy VIII of England. The book will be of most interest to fight directors, directors, drarnaturgs, actors, costumers, armorers, and weaponsmakers. The text is 48 pages in length, offers 16 black and white photographs, 15 line drawn illustrations and 8 color plates (illustrations). The era of Hemy VIII has been somewhat neglected from a military history perspective. List of section titles: Campaigns and Battles Early Expeditions The Battle of the Spurs-Flodden Field-War with France, 1522-23-A Return to War-The 'Enterprise ofBoulogne'-The 'Camisade of Boulogne'- 1545-1546 Recruitment and Organisation Equipment Infantry-Cavalry-Armour- Ordnance Uniforms Flags Further Reading The Plates

74

Stage Combat Resource Materials

Mr. McBride's color plates are full of detail which the fight director, armorer, costumer, and weaponsmaker will appreciate. Included in those plates are several billmen, archers, knights in full armor, border horsemen, German Landsknechts, a Yoemen of the Guard, various men-at-arms, a halberdier, various pikemen and demi-Iancers, Irish auxiliary, a German cavalryman, and an arquebusier. There are several pieces of artwork which illustrate various battles and suits of armor. Photographs include various suits of armor and a shield fitted with a breech-locking pistol.

40. Council, Norman. When Honour's at the Stake. New York: Barnes and Noble, 1973. **R** ISBN: 06-4912922 . Mr. Council, professor of English at the University of Utah, makes a scholarly exploration of the various shapes of the concept of "honor" in the plays of Shakespeare. The book will be of primary use to the director and dramaturg. The fight director may find it useful in terms of gaining a more concise understanding of the "Code of Honor" and how it motivated men to die fighting rather than brook dishonor. The text is 165 pages in length and offers an index. The fight director will not find much technique here, but will find a great deal in terms of the duelist's psychology. Table of Contents: 1.

2. 3. 4. 5. 6. 7.

Ideas of Honour in Shakespeare's England Hemy IV: the Mirror up to Honour Julius Caesar: the Honourable Brutus Troilus and Cressida: Mad Idolatry Hamlet: the Motives of Tragedy Othello: an Honorable Murderer King Lear: the Wages of Virtue

When Honour's at the Stake will be of interest to anyone who wishes to understand how typical Elizabethans framed self-image in terms of honor and gentlemanly behavior especially as presented within the context of Shakespeare's plays.

41. Craven, Kurt. 101 Sucker Punches. Boulder, Co.: Paladin Press, 1989. **H, U** ISBN: 0-87364-503-0. Mr. Craven offers a very entertammg little book designed to keep people from having to engage in any lengthy physical altercation. His idea is to hit first, hit hard, and hit unexpectedly-in other words, "sucker punch 'em." The book will be useful to fight directors and instructors of unarmed stage combat. The book is 94 pages in length, offers 9 line drawn illustrations. Even though Mr. Craven takes a humorous approach to his topic, he is very serious about his objective: to get you out of a tight situation without having to get involved in a toe-to-toe fist fight. Many of the techniques

Books

75

advocated by Mr. Craven might be somewhat problematic in terms of liveperformance, but are definitely achievable on camera. The "sucker-punch" is something which shows up on stage and screen more often than one might expect. Mr. Craven essentially offers the fight director a ready-made "How-To" manual on this sneaky art form. Table of Contents: Chapter I: Classic Sucker Punches Chapter 2: Bar Games and Bouncers Chapter 3: Boxing and Wrestling Chapter 4: Karate Tricks Chapter 5: Holding and Hitting Chapter 6: Fighting with Furniture Chapter 7: Slapstick Epilogue: The Hard Way What follows is a sampling of techniques covered: Your Shoe's Untied-The Nose Tweak-The Coughing Trick-The "Let's Step Outside" Trick-The "Here Hold This" Trick-The Ed Parker Nipple Pinch-The "Kiss My Ass" Trick-The "Let Me Take Off My Jacket-So It Doesn't Get Ripped" Trick-The Drop the Wallet Gag-The Sand in the Face Gag- The Thunder Road TrickThe Grab Hair/Smash Face Against Table Attack As is the case with all of the Paladin Press offerings, the challenge for the fight director and unarmed combat instructor is in adjusting the described techniques for the stage and screen. The adjusting process is frequently much easier for the screen than for the stage but the dedicated and talented fight director can make several of these techniques work onstage.

42. Crosnier, Roger. Fencing with the Foil. New York: A. S. Barnes and Company, n.d. **R, T, E** No ISBN available. Professor Crosnier, former National Coach for Great Britain, offers the first of three books on fencing, one for each of the three competitive weapons. Professor Crosnier retired from his position in 1954, and shortly thereafter began the process of recording his teachings. The book will be of most use to fight directors, instructors of swordplay for the stage, and actorcombatants who have already been introduced to foil fencing. The text is 270 pages in length, offers 19 black and white photographs, 42 line drawn illustrations, and a glossary. Professor Crosnier was appointed by the Amateur Fencing Association in 1949 to be the national coach and travelled throughout England and Wales giving short instructional lessons in various cities. It is primarily to provide a textbook of foil fencing for those who have attended his courses that Professor Crosnier has written this book. Professor Crosnier uses much of his foreword explaining that a very careful study was undergone before

76

Stage Combat Resource Materials

determining which of the two primary schools, the French or the Italian, would be the basis for a British school of fence. Ultimately, it was determined that the French school was better suited to the British temperament. He also discusses at length the need for a solid foil technique behind the study of epee and sabre. Table of Contents: PART ONE: FUNDAMENTAL POSITIONS AND MOVEMENTS 1. The Grip 2. The Stance The Position of On-Guard 3. 4. Gaining and Breaking Ground The Fencing Measure 5. 6. The Development and the Return to Guard The Hit 7. 8. The Fencing Positions. (Lines, Engaging, Covering, Absence of blade) 9. The Change of Engagement 10. The Fleche PART TWO: SIMPLE ATTACKS 1. The Simple Attack 2. The Straight-thrust The Disengagement 3. The Cut-over 4. 5. The Counter-engagement 6. Simple Attacks in the Low Lines PART THREE: ELEMENTARY DEFENCE 1. Elementary Defence 2. The Principle of Defence 3. The Simple Parry (Instinctive) 4. The Semi-circular Parry (Low) 5. The Circular Parry (Counter) PART FOUR: SIMPLE RIPOSTES 1. The Simple Riposte 2. The Direct Riposte 3. The Indirect Ripostes (a) The Riposte by Disengagement (b) The Riposte by Cut-over (c) The Riposte by Counter-disengagement 4. The Simple Ripostes in the Low Lines 5. General Observations PART FIVE: COMPOUND ATTACKS PART SIX: SUCCESSIVE PARRIES PART SEVEN: COMPOUND RIPOSTES PART EIGHT: COUNTER-RIPOSTES PART NINE: COUNTER-OFFENSIVE MOVEMENTS 1. The Stop-hit The Time-hit 2. PART TEN: PREPARATIONS OF ATTACK

Books

77

1.

Attacks on the Blade (a) The Beat (b) The Pressure (c) The Froissement 2. Takings of the Blade (Prises de Fer) (a) The Engagement (b) The Envelopment (c) The Bind (d) The Croise 3. Gaining and Breaking Ground 4. Combination of Preparations 5. The Coule (Graze) 6. Prises de Fer preceding Ripostes 7. Defence against Prises de Fer PART ELEVEN 1. Attacks with a step forward 2. Defence with a step back PART TWELVE: VARIETIES OF RENEWED ATTACK 1. The Remise 2. The Redoublement 3. The Reprise PART THIRTEEN: COUNTER-TIME PART FOURTEEN 1. The Trompement 2. The Derobement 3. Attacks on the Preparation PART FIFTEEN: THE INDIVIDUAL LESSON 1. The Teaching Position 2. General Observations on the Lesson PART SIXTEEN: FIGHTING 1. The Relationship of the Lesson to Fighting 2. The Choice of a Stroke Speed and Cadence 3. 4. The Left-handed Fencer 5. How to Deal with Certain Styles and Tactics An Example of Progressive Lessons for Class Instruction (Thirty Hours) A Simple Guide to Fencing Terms Instructors will appreciate the section of the text which essentially presents an outline for thirty hours of foil instruction. Kay Gibson's illustrations are simple yet effective. The photographs tend to be a combination of action-shots, taken during various international bouts, and staged shots to illustrate whatever technique the author is currently describing. Professor Crosnier is also author of Fencing with the Epee, and he delves into "cut-work" in his Fencing with the Sabre.

78

Stage Combat Resource Materials

43. Demmin, Auguste. An Illustrated History of Arms and Armour (From the Earliest Period to the Present Time). Translated by C. C. Black, M. A., London: George Bell and Sons, 1901. **S, B, I, D, V, M, R, T, E** No ISBN available. Auguste Demmin presents an illustrated survey of arms and armor from the Stone Age through 1900. This rather lengthy book of historical narrative and line drawn illustrations will be of most use to weaponsmakers, armorers, fight directors, directors, and dramaturgs. Actors and costume designers may find it of passing interest. The text is 595 pages in length, offers 1,644 line drawn illustrations, an index, and bibliography. The text begins with an abridged history of the development and evolution of arms and armor through the centuries. The reader will find discussion on metals, smithing practices, evolution of weapons, a brief examination of who used the weapon or armor, and how it was worn, carried, and/or utilized. Table of Contents: I. II. III.

IV.

V.

VI.

VII.

ABRIDGED HISTORY OF ANCIENT ARMS ARMS OF PRE-HISTORIC TIMES AND OF THE STONE AGE Arms in chipped flint-Arms of polished flint ANCIENT ARMS OF THE BRONZE AND IRON AGE Indian arms in bronze and iron-American arms-Assyrian arms, etc. Egyptian arms-Greek and Etruscan arms- Roman, Samnite, and Dacian arms ARMS OF THE BRONZE AGE OF THE SO-CALLED BARBARIC WESTERN NATIONS Germanic arms in bronze-Kelto-Gallic, Gallic, and Lower-Britannic arms-British arms in bronze-Scandinavian arms in bronze-Bronze arms of various countries ARMS OF THE IRON AGE BELONGING TO NORTHERN NATIONS Germanic arms of the Iron Age-Scandinavian arms of the Iron AgeArms of the Iron Age of various nations ARMS OF THE CHRISTIAN MIDDLE AGES, OF THE RENAISSANCE, AND OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES Complete equipments of the Middle Ages-Complete equipments of the Renaissance-Complete equipments of the seventeenth and eighteenth centuries-Description of suits of armour: helmet-cuirasses-stakeshield-coats-arm-guard-gauntlet-greaves and hose-spurs-horse armour-saddle-stirrup--bridle-sword- dagger-poniard, etc.-lance and pike-mace-morning star-flail-war-scythe-scythe-knifegisarme-voulge-war-hammer-war-hatchet-halberd-ranseurpartizan-bayonet-spontoon-military fork-arms and utensils of war and chase-siege weapons-war machines-sling-staff weaponsblow-pipe-bows and arrows-cross-bow FIRE-ARMS

Books

79

Heavy artillery-the mortar- the cannon-portable fire-arms-the hand cannon, hackbuss, arquebus, muskets, etc.-the pistol-accessories for fire-arms VIII. THE AIR-GUN IX. THE ART OF THE ARMOURER AND ARQUEBUSIER.MONOGRAMS, INITIALS, AND NAMES OF ARMOURERS ARMS, CROSSES, AND SIGNS OF THE FREE JUDGES X. XI. ADVICE AND RECEIPTS FOR COLLECTORS OF ARMS The sheer number of arms, armor, shields, and various accoutrements of battle presented here is quite impressive. The book will help the reader to more effectively locate specific eras, nationalities, and facilitate a basic understanding of how the weapon (or piece of armor, shield, helmet, etc.) was produced and used.

44. Dillon. Robert W., Jr. "Towards A Theatrical Hoplology: An Approach to Staging, Performance, and Critical Theory for Weapons-Play in the Theatre." Ph.D. diss., University of Missouri, Columbia, 1989. ** M, R, E, H** No ISBN available. Robert Dillon, Jr., of Southeast Missouri State University, unveils the new science of "theatrical hoplology" in his Ph.D. dissertation. He essentially applies what had traditionally been considered an anthropological science to the art form of stage combat. This Ph.D. dissertation will be of most use to fight directors, directors, actor-combatants, and dramaturgs. This unpublished manuscript is 185 pages in length, offers 5 appendices, notes, and a bibliography. Those interested in obtaining Dr. Dillon's manuscript may do so by sending $40.00 to: Towards A Theatrical Hoplology, c/o Dr. Robert W. Dillon, Jr., 1419 Blue Ridge, Cape Girardeau, Missouri, 63701 (573-651-2491). To quote from Dr. Dillon's abstract, Hoplology is the study of human combative behavior divided into three main foci; technological hoplology, functional hoplology, and behavioral hoplology. The study combines these with script analysis to form theatrical hoplology. Dr. Dillon's study is primarily devoted to presenting various methodologies possible when one combines the three foci listed above to script analysis. He then takes his findings and applies them to three plays, George Farquhar's The Beaux Strategem (1707) and William Shakespeare's Hamlet (1602) and Macbeth (1606). Table of Contents: Chapter 1: Introduction The Perennial Problem The Solution-A Theatrical Hoplology Scope and Design of the Study

80

Stage Combat Resource Materials

Chapter 2: The Rogues Thrown The Theatrical Context The Hoplological Context The Fight Conclusions Chapter 3: Hamlet Rearmed The Theatrical Context The Hoplological Context The Fight Conclusions Chapter 4: Macbeth's Bloody Tachi The Theatrical Context The Hoplological Context The Fight Conclusions Chapter 5: Conclusion Appendix A-The Rehearsal of Staged Fights Appendix B-Weapons-makers Appendix C-Addresses of Certified SAFD Fight Masters Appendix D-Samples: Questionnaires and Responses of Fight Masters Appendix E-Annotated Stage Combat Bibliography Notes Works Cited Vita Much of the fourth chapter's analysis of Macbeth is devoted to placing the play within an Asian context, as the author is very interested in the Eastern martial arts. Dillon has penned articles for such publications as Inside Karate, Black Belt, and Kick Illustrated. Therefore, it should come as no great surprise that the 1985 production of Shogun Macbeth, directed by John Briggs, holds great interest for Dr. Dillon, who felt inspired to make, ...an effort to stretch the embrace of theatrical hoplology around both a continental, Renaissance-Medieval Macbeth and "samurai" weaponry and martial techniques. (32) This is a scholarly and fascinating study that any fight director will find both informative and useful. Dr. Dillon offers great insight into gleaning information from the script and how to couple that information to a specific fighting style to create a viable and entertaining sequence of staged violence. Perhaps the most valuable aspect of the document is that it offers the fight director a systematic approach for creating the hoplological context for any fight in virtually any period or style.

45. Donovan, Frank R. The Vikings. New York: Harper and Row, 1964. **D, V**

Books

81

LCCN: 64-17106. Mr. Donovan offers a study of the Age of the Viking from the end of the eighth century until the middle of the eleventh century. The book will be of use to fight directors, directors, dramaturgs, actor-combatants, and weaponsmakers. The text is 153 pages in length, offers 106 black and white illustrations, 44 color illustrations, 6 maps, an index, and a listing of further references. Mr. Donovan begins by discussing the respect the Vikings had for Charlemagne and the origin of the word "viking." Table of Contents: I. II. III. IV. V. VI. VII. VIII.

Terror of the Empire Raiders and Pirates The Great Invasion Vikings of the East Buried Plunder Explorers and Colonists Windland the Good VIII: The End of the Vikings

Included in this informative text is an examination of the evolution of the Viking war ship and how it was used to slip up rivers to attack unsuspecting communities. Mr. Donovan makes excellent use of illustrations, many of which depict Vikings in battle on land and at sea. There are several photographs of extant Viking swords. Donovan examines several of the more colorful legends regarding great Viking leaders and their prowess in battle.

46. Dufty, Arthur Richard. European Armour in the Tower of London. London: Her Majesty's Stationary Office, 1968. **M, R, T** No ISBN available. Arthur Richard Dufty, Master of the Armouries (circa 1968) offers this photo essay on the dozens of suits of armor in the Tower of London. This book could be of significant aid to those who are interested in recreating medieval and renaissance armor. William Reid's introduction is the only part of the text which is paginated (17 pages). The book includes 509 photographs and illustrations, a table of inventory and plate numbers, and an index. In his preface Mr. Dufty informs us: This PICTURE-BOOK of European armour is the first of a series intended to illustrate selected pieces in the Armouries in Her Majesty's Tower of London. It is neither a textbook nor a catalogue, nor is it a substitute for either. Aside from the introduction offered by William Reid, author of ArmsThrough the Ages and The Lore of Arms, text is virtually nonexistent. There are brief descriptions which name the original owner of the armor and the date it was constructed, if that information is known. This publication offers 509 pictures of tilting armor, foot-combat armor, helmets, spurs, gauntlets, cuirasses, bevors,

82

Stage Combat Resource Materials

shields, pauldrons, vambraces, poleynes, chanfron (horse helmets) and virtually any piece of a suit-of-armor you can imagine. There are ninety-two pictures of various helmets alone; close helmets, great helms, barbuttes, kettle helmets, bascinets, sallets, morions, cabacetes, armets, tilt helms, burgonets, etc. Most of the pictures are black and white, but the detailing is excellent. There are several examples of damascened helmets and cuirasses that are strikingly beautiful. There are also several reproductions of antique paintings (some in color) which picture armor from the periods covered. There are several examples of Henry VIlIs armor and additional Gothic suits-of-armor (including a grotesque helmet which is all that is left of a suit of armor which was a gift from Maximilian I to Henry VIII). This text is an excellent resource for horse armor as well.

47. Dupuy, Col. T. N. The Evolution of Weapons and Warfare. New York: The Bobbs-Merrill Company, Inc., 1980. **S, B, I, D, V, M, R, T, E** ISBN: 0-672-52050-8. Col. Dupuy offers a survey of the development of warfare and weapons from the Stone Age to the 1980s of use to the fight director, director, actor, dramaturg; perhaps marginally useful to weaponsmakers as well. The book is 350 pages in length, no illustrations, 10 tables, an appendix (a distillation of the book), and an index. This book examines the ideas, technology, and the drama and horror of battle. It is an entertaining account of the most significant weapons human ingenuity has been able to invent. Col. Dupuy does not focus on the combatant as an individual but rather as a member of a fighting unit, e.g., the Greek phalanx, the Roman legion, the Frank fyrd, the Viking raiding party, etc. All of the above are examined in terms of weapons, tactics, strategies, and other relative strengths and weaknesses. Table of Contents: PART ONE: THE AGE OF MUSCLE I. Pike, Bow, Sword, Shield, and Chariot 2000-500 B.C. Phalanx and Sarissa 500-200 B.C. II. III. Gladius, Pilum, and Legion 400 B.C.-A.D. 300 Ancient Fortifications and Siegecraft 1000 B.C.- A.D. 300. IV. V. Stirrup and Lance: The Rise of Cavalry A.D . 300-500 VI. Squalid Butchery A.D. 500-1000 VII. The Islamic Explosion A.D. 630-1000 VIII. Byzantine Guile and Skill A.D. 630-1000 IX. The Crusades: Interaction of East and West 1100-1300 Whirlwind from Mongolia 1200-1300 X. XI. The Revival ofInfantry: English Longbow and Swiss Pike 12001500 PART TWO: THE AGE OF GUNPOWDER XII. Bombard, Hackbut, Petard, and Howitzer 1400-1600 New Fortifications and Siegecraft 1400-1700 XIII. XIV. Spanish Square and Spanish Galleon 1500-1600

Books

83

XV. XVI.

Ship of the Line: Gunpowder Rules the Sea 1550-1800 Gustavus Adolphus: The Marriage of Infantry and Artillery 16001700 XVII. Frederick and the Perfection of Gunpowder Tactics 1700-1780 XVIII. Napoleon and the Revolution in Warfare 1795-1815 PART THREE: THE AGE OF TECHNOLOGICAL CHANGE Part Three covers information outside the scope of this text.. APPENDIX: DISTILLATION The second part of the book, "The Age of Gunpowder," focuses on the Renaissance period and the weapons in use during this period. However, there is much in this section having to do with cut and thrust oriented combat, certainly enough to include listing the table of contents in detail. The first two thirds of the book will be very useful for the teacher of stage combat who is looking for source material on a lecture on the history and development on arms and warfare. Col. Dupuy's style is accessible, entertaining, and full of historical specifics. Col. Dupuy necessarily offers much on the individual combatant in terms of weapomy and fighting techniques.

48. Edelman, Charles. Brawl Ridiculous: Swordfighting in Shakespeare's Plays. New York: St. Martin's Press, 1992. **R** ISBN: 0-7190-3507-4. Mr. Edelman speculates on how the fight scenes in Shakespeare's plays might have been staged under original performance conditions. The book is 218 pages in length including note, bibliography, and index. Mr. Edelman is most concerned with how Shakespeare makes use of combat dramaturgically--his imaginative use of fight scenes to illucidate theme, plot, and character:

...1 have tried to show the remarkably innovative nature of Shakespeare's stagecraft in placing such a large amount of fighting on stage...how each fight must be carefully analysed for indications of how, when staged appropriately, it can illuminate character and thematic development of the plays....[and] give audiences what the Elizabethans received-splendid displays of swordmanship. (89) Mr. Edelman makes a strong argument in support of the fact that Shakespeare inserted scenes of combat for poetic and dramatic reasons and not merely to placate the less refined members of his audience. Table of Contents: Introduction: Fencers in the Playhouse Chapter One: Stage Combat Before Shakespeare Chapter Two: The Actors Arms and Armour Chapter Three: Elizabethan Neo-Medievalism Chapter Four: I Henry VI Chapter Five: The Wars of the Roses: 2 and 3 Henry VI, Richard III

84

Stage Combat Resource Materials

Chapter Six: King John Chapter Seven: The Henry VPlays Chapter Eight: The Sieges of Troy and Corioles Chapter Nine: Pre-Norman Britain: King Lear, Macbeth, Cymbeline Chapter Ten: Rapier and Dagger: Romeo and Juliet, Hamlet Editions Cited Notes Index Mr. Edelman analyzes many of Shakespeare's better known fight scenes in terms of what weapomy and armor might have originally been utilized. He also does an admirable job of analyzing the various fight scenes in terms of their symbolic and thematic resonances. If the sort of speculation offered by Dover Wilson in his series of letters to the London Times Literary Supplement regarding the fencing match in Hamlet are to your taste-this book is for you.

49. Edge, David and John Miles Paddock. Arms and Armor ofthe Medieval Knight: An Illustrated History of Weaponry in the Middle Ages. New York: Crescent Books, 1988. **D, M, R** ISBN: 0-517-64468-1. Edge and Paddock have produced a very handsome and stimulating piece of scholarship on the medieval knight from his relatively barbaric beginnings to his chivalric zenith in the sixteenth century. This book will undoubtedly be quite useful to fight directors, directors, actors, dramaturgs, weaponsmakers, armorers, and costumers as well. The text is 192 pages in length and offers over 150 color and 170 black and white photographs of weapons, armor, and period works of art. Another significant addition is a detailed glossary, with 7 pages of defined terms. Included in this glossary are a number of line drawn illustrations of various medieval helmets. An index is also supplied. This is a very comprehensive study of the social milieu, the weapons, the armor, and the training of the medieval knight. The photographs are strikingly detailed and serve as the centerpiece of the book. Of special interest will be the numerous photographs and line drawn illustrations of dozens of medieval helmets. Equally impressive is the number of reproductions of weapons (staff weapons, swords, daggers, battle axes, maces, etc.), armor, and art from the period. Table of Contents: Introduction- The Origins of the Knight 1. The Eleventh Century-Adventurers to Aristocrats 2. The Twelfth Century-The Era of the Crusades 3. Paladins and Paynims-The Thirteenth-century 4. The Fourteenth Century-The Parfait Gentil Knight 5. Courtesy and Carnage-The Fifteenth-century 6. The Sixteenth Century- The Final Flowering 7. Tournaments- The Sport of Princes Appendices

Books

85

Glossary

Arms and Armor of the Medieval Knight is a highly illustrated survey on the European knights, their weapons, and the often far from chivalrous wars and battles they fought. Arms and Armor of the Medieval Knight traces the knight's evolution from his early days of chain mail and crude helmets to the elaborate suits of full plate armor of the fifteenth and sixteenth centuries. The authors have compiled an impressive number of photographs of suits-of-armor and weapons (all of excellent quality) from museums and collections all over Europe. Additionally, the detailed information provided in the text (conveniently structured according to century) relating to the various suits of armor and weapons effectively complements the publication's photographs.

49a. Edmond, James, editor. Violence in Drama. See entry 110.

50. Fawcett, William (Adjutant General). Rules and Regulations for the Sword Exercise ofthe Cavalry. London: Printed for the War Office and sold by T. Egerton, Military Library, Whitehall, 1796; (reprinted by Museum Restoration Service, Ottawa, Ontario, 1970). **H, E** No ISBN available. Adjutant General William Fawcett publishes, by royal order, the various sword exercises to be taught to the British cavalry. The text will be useful to fight directors, directors, drarnaturgs, and actor combatants. The book is 99 pages in length and offers 42 line drawn illustrations. There is no bibliography or index offered. This book is comprised of exercises designed to instruct members of the cavalry on how to use the cavalry sabre on foot and on horseback. Table of Contents: PART I. General Principles of the several cuts - - - - - - - - - - - - - -.- guards - - - - - - - - of applying the point - - - - - - - - of the cuts and guard against infantry Drill on Foot Position of the recruit, with the direction in which the six cuts are to be applied Sword knots Drawing of Swords Sloping of Swords Returning of Swords Prepare to guard Guard Cuts Method of executing cut I. - - - - - - - - -- II.

86

Stage Combat Resource Materials

- - - -- - -- -- III. - -- - - -- -- IV. - -- - - - -- - - - V. - - - - - - - - - VI. The mode of executing the six cuts collectively Modes of Parrying Cavalry Left protect Right protect Horse near side protect - - - off side protect Bridle-arm protect Sword-arm protect St. George Cut to the rear from the St. George General Application of the Point, with the mode of parrying and directing the cuts against Infantry. Left give point To the rear parry Cut IV. from the parry Front give point Cut V. & VI. from the point Right give point Rear parry Cut III. from the parry Tellings Off in Battalion or Division Mode of taking distance of files for Sword exercise Proving distance of files Sword exercise on foot, with explanatory notes Sword Exercise Comprised in Six Divisions of Movements, with the Words of Command. First division of movements Second division of movements Third division of movements Fourth division of movements Fifth division of movements Sixth division of movements Forming the battalion after exercise PART II. Drill on Horseback Distance of ranks and files on horseback The Sword exercise when mounted Sword drill moving in circle Position of the dragoon on horseback The Sword exercise performed in speed Running at the ring Application of the edge Attack and defence

Books

87

PART III. Method of instruction in classes Directions to be observed with respect to the drills PARTlY. Review exercise Six divisions performed in line - - - - - - - -- - in speed The attack in line - -- -- in speed Here is an excellent primary resource for the fight director to gain a more complete understanding of how the cavalry functioned during the late eighteenth century. There are dozens of line drawn illustrations which supplement the explication offered on the various parries, guards, and cutting and thrusting attacks utilized with the cavalry sabre.

51. Fosten, Bryan. Wellington's Infantry (1). Men-at-Arms Series. London: Osprey Publishing, Ltd., 1981. **E** ISBN: 0-85045-395-X. Mr. Fosten continues his examination of Wellington's forces by focusing on the infantry. This book will be of most use to fight directors, directors, costumers, dramaturgs, and actor-combatants. The text is 40 pages in length, offers 39 black and white photographs, and 8 plates of color illustrations. There is also a second Osprey entry detailing Wellington's infantry appropriately titled Wellington's Infantry (2) and two additional publications entitled Wellington's Light Cavalry and Wellington's Heavy Cavalry. This is a marginal selection-as Wellington's Division effectively strides the cut-off date for this bibliography, 1800, and go on to have its most significant impact at the Battle of Waterloo in 1815. Mr. Fosten begins by discussing the expansion of the infantry during the American Colonies war for independence. List of section titles: Composition of the Infantry Commanders and Staff The Duke of York's Reforms-Wellington (biography) Establishment (strengths) 1809 Establishment- British Infantry in the Peninsula (Iberian) Army Life Recruiting- Age and Height-Pay-Barracks-Food-BivouacsTents-Women and Marriage Organization Weapons and Equipment Muskets-Pikes-Swords-Pistols- Ammunition-the Cartridge Pouchthe Belts- Haversacks- Canteens- Knapsacks Movements and Drill The March- Basic Drill

88

Stage Combat Resource Materials

Regimental Distinctions The Plates (illustrations) The fight director will undoubtedly find the section on "Movements and Drills" of use, especially for film. The section on "Weapons and Equipment" also offers information on such cut and thrust weapons as the pike and sword. The fight director will find the illustrations of uniforms of use in determining the range of motion which will be available to the actor-combatant. The drarnaturg and director will find that the history, especially the biographical section on Wellington himself, to be colorful and informative. The color plates mounted in the center of the book are certainly a highlight. Here is an excellent source for researching what everyday life was like for an infantryman in Wellington's Division. There are a few illustrations of soldiers in action, but most of the illustrations are studied poses designed to show off the uniform to its best advantage. Wellington's Infantry is an excellent introductory resource on the years shortly before and during Napoleon's campaigns through Waterloo.

52. Franco, Sammy. Street Lethal: Unarmed Urban Combat. Boulder, Co.: Paladin Press, 1989. **H, U** ISBN: 0-87364-517-0. Sammy Franco, author of Killer Instinct: Unarmed Combat Street Survival, a fairly philosophical and theoretical work, offers a manual that is much more technique oriented. This book will be of significant aid to fight directors and teachers engaged in staging or teaching unarmed stage combat for the stage and screen. The text is 181 pages in length and offers 255 black and white photographs of techniques in various stages of execution. In Street Lethal the reader will find hundreds of techniques designed to be of aid to the citizen who is caught in a potentially dangerous position on the streets. As is the case with many other publications of this nature, Mr. Franco takes an Asian martial art and adjusts it to the street. Table of Contents: Introduction The Mental Element-The Physical Element-The Spiritual Element Chapter One: Physical Conditioning Cardiovascular Strength- Muscular Strength- Calisthenics-FlexibilityLow Level of Body Fat Chapter Two: The Fighting Stance The Boxer's Stance-The Wrestler's Stance-The Horse Stance-The Cat Stance Chapter Three: The Ranges of Unarmed Combat Kicking Range- Punching Range-Grappling Range- Footwork Chapter Four: The Offensive Structure Kicking Range Tools-Vertical Kick-Knee/Shin Kick- Punching Range Tools-Finger Jab--Lead Straight-Rear Cross-Lead Hook-Rear Hook- Lead Uppercut- Rear Uppercut-Lead Shovel Hook-Rear Shovel Hook- Grappling Range Tools-Elbow Strike- Vertical Elbow Strike-

Books

89

Horizontal Elbow Strike-Reverse Elbow Strike- Knee Strike-Vertical Knee-Horizontal Knee-Double Thumb Gauge-Biting Tactics-Head Butt-Foot Stomp- Compound Attacks: Shin Kick/Finger Jab/Rear Hook-Push Kick/Rear Cross/Lead Uppercut- Hook Kick/Rear Cross/Foot Stomp-Vertical Kick/Rear Cross/Lead Straight/Rear Uppercut-Knee Kick/Horizontal Knee/Horizontal Elbow-Finger JabNertical Knee/Foot Stomp-Lead Straight/Rear Cross/Rear Hook-Lead Straight/Rear ShoveVLead Hook-Finger Jab/Rear Cross/Lead - Straight/Rear Uppercut-Finger Jab/Rear Hook/Lead-Hook/Rear Uppercut/Lead Uppercut-Low Feint/Finger Jab/Rear Cross/Horizontal Knee-Foot StomplHead Butt/Vertical Knee-Horizontal ElbowNertical ElbowNertical Knee-Double Thumb GaugeNertical KneeIHead Butt Chapter Five: The Defensive Structure Blocks: High Blocks- Medium Blocks-Low Blocks-Parries: Inward Parry-Outward Parry- Downward Parry-Slipping-Slipping Backward-Slipping Sideways (to the right)-Slipping Sideways (to the left)-Slipping Downward-Defending Against Punches and KicksDefense Against a Straight Lead- Defense Against a Rear Cross-Defense Against a Right Hook-Defense Against a Left Hook-Defense Against a Left Overhead Punch- Defense Against a Right Low Punch-Defense Against a Shin Kick-Defense Against a Vertical Kick- Defense Against a Front Thrust Kick-Defense Against a Foot Sweep-Defense Against a Right Roundhouse Kick-Defense Against a Left Roundhouse KickDefense Against a Side Kick-Defense Against a Right Crescent KickDefense Against a Left Crescent Kick-Defense Against a Spinning Backfist-Defense Against a Spinning Side Kick-Defending Against Locks, Chokes, and Holds-Defending Against a Wrist Grab-Defending Against a Throat Choke-Defending Against a Rear Arm Lock Conclusion As is the case with all publications of this nature from Paladin Press, the fight director will have to carefully adjust these techniques for safe usage on the stage and screen.

53. GambordelIa, Dr. Ted. Fight for Your Life: Secrets of Street Fighting. Boulder, Co.: Paladin Press, 1982. **H, U** ISBN: 0-87364-251 -1. Dr. Gambordella offers his approach to staying alive on the streets when faced with a dangerous situation. The text will be of use to fight directors and instructors involved in the staging or teaching of unarmed stage combat techniques. The text is 97 pages in length and offers 200 black and white photographs of techniques in various stages of execution. Dr. Gambordella informs us early on that he is a Christian and does not advocate the use of violence except in self-defense. Nevertheless, even assuming that there has been provocation, several of the techniques he teaches are very vicious and brutal. Table of Contents:

90

Stage Combat Resource Materials

Introduction 1. Fighting Techniques 2. Escapes and Counters 3. Close Fighting and Ground Fighting 4. Knife and Club Defenses 5. Defenses for a Woman 6. Multiple Attacks 7. Tips Many of the techniques in this book may be easily adapted to stage and screen. However, there is the occasional kick to the head which only a very experienced karate stylist could perform. But then, we are not concerned with real street fighting-only that it have the appearance of being so. There are also several very interesting techniques offered for dealing with the assailant armed with knife or cudgel.

54. Girard, Dale Anthony. Actors On Guard. New York: Routledge, 1997. **H, R, T** ISBN: 0-87830-057-0 (hb) and 0-87830-058-9 (pb). Undoubtedly one of the most comprehensive and useful "How-To" books on the subject of rapier and dagger for the stage and screen ever produced. This is most defintley a "must have" publication for the serious fight director, teacher of stage combat, or the dedicated actor-combatant. Directors, actors, and dramaturgs will also find the historical context offered to be of significant aid in understanding the societal rnileu in which rapier and dagger confrontations acually occurred. Mr. Girard is one of only eleven Fight Masters certifeid by the Society of American Fight Directors; an organization dedicated to the improvement of stage combat arts in terms of both aesthetic and safety standards. He has taught at the National Theatre Conservatory in Denver and is presently resident Fight Director for the Yale School of Drama and the Yale School of Music and Opera. The book is a dense 511 pages in length, and includes 40 photographic "plates" of illustrations culled from a variety of antique souces such as the fight manuals of di Grassi, Fabris, Alfieri, Saviolo, Swetnam, Marozzo, Capo Ferro, and Agrippa. It also includes dozens of line drawn illustrations of a variety of rapier and dagger techniqes, 4 appendices (including a glossary of combat terminology) , and a bibliography. Mr. Girard has produced a text which is a deft blend of scholarship and practical techniques for learning rapier and dagger for the stage and screen. It is fascinating to observe how Mr. Girard's intimate knowldege of the various publications produced by renowned Fight Masters of the sixteenth, seventeenth, and eighteenth centuries has been forged into a variety of techniques which he has adjusted to aid in producing safe, sane, and exciting rapier and dagger sequences for the stage and screen. Table of Contents: Contents Preface

Books

91

Table of Plates Acknowledgments Prologue 1. Safety First: Practical Training Techniques for the Stage Combatant 2. The Sword and the Stage: An Introduction to the Theatrical Rapier 3. Stance and Footwork: Patterns for the Lower Body 4. Getting the Feel of Steel: Holding and Handling the Rapier 5. The Guards of the Single Rapier The Parries of the Single Rapier 6. 7. The Offensive Actions of the Single Rapier: Cut and Thrust 8. Crossing Swords: Offensive and Defensive Interaction 9. Further Techniques of the Theatrical Swashbuckler 10. Evasive Actions 11. Attacking the Blade: Beats, Pressures and Pris d'Fer 12. Deceptions and False Play: Simple and Compound 13. Attacks of the Rapier 14. Closes and Gripes: Techniques for Close Quarter Combat 15. Coming to the Point: Wounds and Kills with the Edge and Point 16. Adding athe Dagger 17. The Guards of the Rapier and Dagger 18. The Parries of the Rapier and Dagger 19. Offensive Actions of the Dagger 20. Setting the Fight: Two Routines of Staged Combat 21. Acting Tough! : Selling the Ilusion of Stage Conflict 22. Fighting Through the Production: Rehearsing and Running the Fight Epilogue Appendix A: Societies of Stage Combat Appendix B: Swordcutlers & Suppliers of Theatrical Swords Appendix C: Maintaing the Weapons Appendix D: The Language of Swordplay-A Glossary Bibliography Mr. Girard has meticulously researched his topic. His book is a stellar example of how a new corpus of scholarship on the stage combat arts is beginning to emerge; one which is largely succeeding at lending a scholarly legitimacy to the study of the combat arts. He frequently quotes from antique manuals of swordplay in an effort to inform the reader from whence springs his inspiration for the dizzying variety of techniques he describes in minute detail. Mr. Girard also pays due attention to the acting of a staged fight, offering information for applying generally accepted acting technique in an effort to bring out the inherent dramatic or comic dynamics in a scene involving combat. Fight directors, actors, and teachers will also appreciate the extensive glossary of stage combat and swordplay terminology which Mr. Girard supplies as Appendix DThe Language of Swordplay-a glossary. This is an excellently conceived and well articualted "How To" manual; one which has been long needed and much anticipated.

92

Stage Combat Resource Materials

55. Girard, Dale Anthony. The Fight Arranger's Companion: A Complete Lexicon of Terms, Historical and Modern, Used in the Art ofStaged Conflict. Published by the author, 1994, 3rd edition. **1, D, V, M, R, T, E, U** No ISBN available. Mr. Girard, a Fight Master with the Society of American Fight Directors, offers an impressive glossary containing terms utilized by fight directors in the staging of armed and unarmed conflicts for the stage and screen. This impressive piece of scholarship will be of most use to fight directors, actor-combatants, directors, dramaturgs, and instructors of stage combat. The manuscript is 250 pages in length and includes a list of cited texts and a bibliography. Those interested in obtaining this unpublished manuscript may do so by contacting Professor Giard via the Department of Theatre Arts at the North Carolina School of the Arts. The author may also be contacted via email via the addresses he supplies on the SAFD web site at: www.SAFD.org. A nominal fee is involved. Mr. Girard, a recognized Fight Master (and author of Actors On Guard) with the Society of American Fight Directors, has compiled hundreds of terms related to modem and ancient cut and thrust weapons, unarmed combat, stage combat, acting, theatre and cinema production, dramatic literature, stunt arranging, and competitive and theatrical fencing. This highly effective tool for the fight director spans the centuries from ancient Rome to the present day. The terms come from a myriad number of sources, both modem and ancient; encompassing both SAFD sanctioned terms and informal jargon utilized by modem fight directors and stunt coordinators. The text is organized alphabetically with two columns of terms and definitions per page. Two examples follow: Abate: To beat the edge or point of a blade back; to tum the edge, to take off the edge, to blunt. A dulled, blunted or rebated blade. [R3-V.v.35, H4/2-Li.117] Breakaway: (Also Break-away) Props that are specially designed to fall apart on impact, such as bottles, chairs, windows, etc. Used in stage combat and stunts. [Singleton, 22]. The reader should note the information contained in the brackets at the end of each term. In these brackets Mr. Girard places references to plays and publication titles. In the first instance we are informed that the term is found in Shakespeare's Richard III, Act V, scene v, line 35 and in Henry IV, Part 2, Act I, scene i, line 117. In the second case, we are informed which resource Mr. Girard utilized to define the term; in this instance, Ralph S. Singleton's Filmmaker's Dictionary. Mr. Girard has produced a very utilitarian and informative text. It will be especially useful to fight directors and actorcombatants who need to quickly determine the meaning of an archaic weapons or combat term discovered in the plays or novels of Shakespeare, Beaumont and Fletcher, Congreve, Dekker, Dickens, Dryden, Farquhar, and others.

Books

93

56. Grancsay, Stephen. Arms and Armor. New York: The Metropolitan Museum of Art, 1986. **B, I, D, V, M, R, T, E** ISBN: 0-87099-338-02. This is a publication of greatest value to armorers, weaponsmakers, fight directors, directors, and dramaturgs. One of the major values of this publication will be in its photographs, illustrations, and pin pointdating of costumes, armor, and weapons. For the armorer and swordmaker there are hundreds of photographs of dozens of periods and styles of arms and armor from all over the world. Arms and Armor is 541 pages in length, includes a bibliography, 627 black and white photographs (of excellent quality), and 59 line drawn illustrations. Stephen V. Grancsay (1897-1980), was curator of arms and armor at the Metropolitan Museum from 1929 until his retirement in 1963 and was America's authority in that field. This collection of 115 essays is, indeed, a remarkable piece of scholarship. The tone of these essays is scholarly and almost exclusively focuses on dating, provenance, and description of an impressive array of arms and armor. The scope of the essays is also quite overwhelming, touching on European, American, Japanese, Chinese, Persian, Indian, and Malaysian weapons and armor-just to name a few. Included in these essays are several that concentrate on ancient firearms-some going as far back as 1586. The scope and value ofthis piece of scholarship is so impressive it seems prudent to publish a list of the essays that fall within the scope of this study. Below each entry will be the volume number, the date it originally appeared in ''The Metropolitan Museum Art Bulletin," the inclusive pages, and finally, the page on which the article begins in Arms and Armor. This will allow those involved in research to pursue the article through "The Metropolitan Museum of Art Bulletin" if unable to procure this anthology. List of essays: 2. "Fortuny as a Collector and Restorer of Ancient Arms and Armor." 16, November 1921: 235-37, p.13. 3. "The William H. Riggs Library of Armor." 20, September 1925: 213-15, p.16. 4. "A State Partisan of Maurice of Nassau." 23 , January 1928: 50-52, p. 17. 5. "Notes on European Chain Mail." 23, March 1928: 82-85, p. 20. 6. "Maximilian Armor." 23, April 1928: 100-103, p. 22. 8. "Enriched Breastplate and Volant Piece." 23, July 1928: 186-89, p. 28. 9. "An Enriched Shield-English or German?" 23 , August 1928: 198-200, p.30. 12. "A Stained-Glass Saint Michael in Armor." 23, November 1928: 26871, p. 38. 13. "Swords from the Dresden Armory." 24, February 1929: 56-58, p. 41. 16. "An Embossed Parade Helmet." 24, August 1929: 209-10, p. 51. 18. "A Commemorative Sword of the Thirty Years" War." 25, January 1930: 8-10, p. 54. 21. "The Bashford Dean Memorial Collection." 25, April 1930: 86-94, p. 59. 25. "A Fifteenth Century Painted Shield." 26, January 1931 : 12-14, p. 71. 26. "A Gift of Three Scramasaxes." 26, February 1931: 40-41, p. 74.

94

Stage Combat Resource Materials 29. "A Pate Defense of the Emperor Maximilian II." 26, May 1931: 12527, p. 80. 30. "A Stocking Knife Associated with James II of England." 26, June 1931: 146-47, p. 82. 31. I. "A Loan Exhibition of European Arms and Armor." 26, August 1931: 182-87,p.83. 31 . II. "The Exhibition of European Arms and Armor-Notes on Some Ornamented Pieces." 26, September 1931: 203-209, p. 87. 33 . "The Caspar Whitney Collection of Daggers and Knives." 26, October 1931: 242-45, p. 91. 35. "An Exhibition of Forgeries." 27, February 1932: 46-48, p. 97. 39. "A Historical Horse Armor." 27, July 1932: 176-78, p. 104. 43. "Historical Arms and Armor." 28, March 1933: 50-57, p. Ill. 44. "An Early Short Sword." 28, August. 1933: 138-39, p. 116. 48. "A Sixteenth Century Parade Armor." 29, June 1934: 102-104, p. 122. 49. "The Jean Jacques Reubell Bequest; Small-swords." 29, July 1934: 115-18, p. 127. 49. "An Augsburg Helmet." 29, August 1934: 130-32, p. 130. 52. "The Genouilhac Armor." 29, November 1934: 190-91 , p. 134. 53. "A Shield of Henry II of France." 29, December 1934: 212-16, p. 136. 54. "Elements of Etched Armor." 30, February 1935: 35-36, p. 141. 55. "Bavarian Chased-Steel Mountings." 30, June 1935: 125-27, p. 142. 62. "An Element of the Armor of the Queen"s Champion." 31 , November 1936: 233-35, p. 159. 64. "An Early Sculptured Saddle." 32, April 1937: 92-94, p. 185. 65. "A Hapsburg Locking Gauntlet." 32, August 1937: 188-91, p. 188. 69. "A Gift of Enriched Military Maces." 33, February 1938: 37-39, p. 204. 70. "A Gift of Mexican "Conquistador" Stirrups." 33, March 1938: 73-76, p.207. 71. "An Augsburg Backplate." 33, August 1938: 177-80, p. 209. 72. "A Maximilian Helmet and Gauntlet Retrieved." 33, December 1938: 268-71, p. 212. 73. "A New Armor Hall." 34, Jan. 1939: 15-19, p. 215. 74. "The Bequest of Giulia P. Morosini." 34, January 1939: 15-19, p.222. 75. "A Gift of Embossed Armor." 34, April 1939: 84-88, p. 227. 76. "A Helmet by Kunz Lochner." 43, May 1939: 114-16, p. 230. 77. "Armor with Etching Attributed to Daniel Hopfer." 34, August 1939: 190-92, p.232. 78. "A French Crusader's Sword Pommel." 34, September 1939: 211 -13, p. 237. 79. "A Young Prince's Enriched Armor." 34, November 1939: 260-63, p. 238. 80. "The Armor of Henry I de Montmorency." 34, December 1939: 28486, p.241. 81. "A Harness ofa King of France. 35, January 1940: 12-17, p.244.

Books

95

82. "Arms and Armor from the Theodore Offerman." 35, February 1940: 30-32, p. 249. 82. "A Damascened Eared Dagger by Diego de Caias." 35, August 1940: 160-61 , p.251. 83. "The Cloisters Exhibition of Medieval Arms and Armor." 35, September 1940: 172-75, p.253. 84. "Elements of Armor Made for Christian I of Saxony." 35, October 1940: 203-204, p.256. 87. "A Medieval Sculptured Saddle." 36, March 1941 : 73-76, p. 267. 88. "A Pair of Spurs Bearing the Bourbon Motto." 36, August 1941: 17072, p. 270. 91. "A Helm for the Baston Course." 37, March 1942: 60-64, p. 279. 92. "A Renaissance Brigandine." 37, May 1942: 132-36, p. 282. 94. "The Sword of Ambrogio di Spinola." n. s. 5, May 1947: 235-39, p. 293. 97. "Knights in Armor." n. s. 6, February 1948: 178-88, p. 313 . 98. "Enriched Historical Arms."n. s. 7, December 1948: 108-109, p. 328. 99. "Irish Bronze-Age Weapons (250-1700 B.C.)." n. s. 7, March 1949: 181-85, p. 330. 100. "A Barbarian Chieftan's Helmet." n. s. 7, June 1949: 272-81, p. 335. 101. "A Parade Shield of Charles V." n. s. 7, December 1949: 122-32, p. 348. 102. "The Interrelationships of Costume and Armor." n. s. 7, February 1950: 176-88, p. 362. 103. "Museum Armor and a Van Dyck Portrait from Vienna." n. s. 7, May 1950: 270-73, p. 377. 104. "The Armor of Don Alvaro de Cabrera." n. s. 10, June 1952: 275-85, p. 381. 105. "The Armor of Henry II of France from the Louvre." n. s. 11 , October 1952: 68-80, p.396. 106. "A Helmet Made for Philip II of Spain." n. s. 13, May 1955: 272-80, p.411. 107. "The New Galleries of European Arms and Armor." n. s. 14, May 1956: 205-36, p. 421. 108. "A Miniature of the Earl of Cumberland in Armor. " n. s. 15, January 1957: 120-22, p. 439. 110. "Medieval Armor in a Prayer Book." n. s. 16, June 1958: 287-92, p. 463. 111. "A Viking Chieftan's Sword." n. s. 17, March 1959: 173-81 , p. 470. 112. "Royal Armorers-Antwerp of Paris?" n. s. 18, Summer 1959: 1-7, p. 493. 113. "Sculpture in Steel- A Milanese Renaissance Barbute." n. s. 21, January 1963: 182-91 , p. 493. 115. "Lucio Piccinino--Master Armorer ofthe Renaissance." n. s. 22, April 1964: 257-71 , p. 5 19.

96

Stage Combat Resource Materials

Arms and Armor is a truly exceptional example of scholarship supplemented by hundreds of photographs of actual antique armor and weapons.

57. Grant, Michael. Gladiators. New York: Delacorte Press, 1967. **1** LCCN: 68-8635. Mr. Grant offers a comprehensive survey on the Roman Gladiator. The book will be of use to fight directors, directors, dramaturgs, and armorers. The text is 128 pages in length, offers 55 black and white photographs, notes on further reading, and an index. Gladiators serves as a survey of the ancient Roman institution of arena combat-man against man and man against beast. Mr. Grant traces the violent history of the gladiators from their rise during the third century B.C. to their eventual abolition at the end of the fifth century A.D. Grant also offers some interesting information on the Spartacus rebellion, the various types of gladiators, the schools in which they trained, and the arenas in which they fought. He also discusses those peculiar gladiatorial combats known as naumachiae, or sea fights . Table of Contents: Introduction 1. Gladiators in Republican Rome The First Gladiatorial Shows Spartacus and After 2. The Gladiators' Profession Who Were the Gladiators? Imperial Shows and Schools Organization throughout the Empire 3. Gladiators in Action The Different Kinds of Gladiators The Procedure of the Arena The Arenas The Sea Fights 4. The Gladiators and their Public The Position of the Gladiators in Society The Attitudes of Rulers and Spectators The Attitudes of Writers The Abolition of the Gladiators Notes on Further Reading Index A very informative, yet brief, examination of this blood-thirsty form of entertainment the Romans borrowed from the Etruscans. One might quibble with Mr. Grant's use of the term "duelists" in reference to gladiatorial combats, as these men-in most cases-were not fighting for honor, reputation, or in an effort to determine God's will in Judicial Combat. In fact, these men, and in some cases women, fought purely for the pleasure of the Emperor and the spectators. This, however, is a minor issue when considered within the context of the sheer amount of information Mr. Grant offers. There is another term

Books

97

which Mr. Grant makes frequent use of: "combatants." This term is certainly an appropriate moniker in reference to the gladiators.

58. Gravett, Christopher. Hastings 1066: The Fall of Saxon England. Campaign Series. London: Osprey Publishing, Ltd., 1992. **M** ISBN: 1-85532-164-5. Mr. Gravett offers a detailed examination of the Battle of Hastings (1066), which saw King Harold's forces fall before the armored forces of Duke William at Stamford Bridge. The book will be very useful to fight directors, directors, dramaturgs, costumers, and weaponsmakers. The text is 96 pages in length, offers 71 black and white photographs, 8 color maps, and 10 color plates (illustrations of soldiers in battle). Mr. Gravett carefully examines the fall of Saxon England into the hands of the Norman forces led by Duke William, later known as "the Conqueror." This publication's true emphasis lies on the Battle of Hastings. Table of Contents: The Background to the Crisis of 1066 The Commanders William, Duke of Normandy-Harold II of England Opposing Armies The Army of Duke William-The English Army Plans and Preparations The Invasion Plan of Duke William-Tostig's Raid-The Invasion Force Gathers-Harold's Dilemma-The Norse Invasion-The Norman Invasion The Battle The Crisis-The Feigned Flights-The Final Assault- The Death of Harold-The Norman Victory- The Malfosse Incident-Aftermath The Battlefield Today Chronology A Guide to Further Reading Wargaming the Battle of Hastings The Campaign Series books tend to be longer than the Men-at-Arms books by an average of fifty pages or so. The same high quality of scholarship and artistry are evident throughout the book. The illustrations are in color and frequently show the combatants engaged in action. The fight director, via the color plates and the several photographs taken of the Bayeaux Tapestry, will achieve a clearer understanding of the various weapons employed (e.g., many of the English preferred the two-handed battle axe as opposed to the French preference for the broadsword), what tactics were employed, the role of the knight, the role of the infantryman/archer, and a concise reference to the clothing (uniforms) and military accoutrements in use at the time. This publication offers several photographs of extant swords, helmets, mail shirts, axe heads, etc.-which are sure to please the weaponsmaker. Above all, this text offers a detailed, blow by blow analysis of the battle many historians consider to be the most famous in English history.

98

Stage Combat Resource Materials

59. Gravett, Christopher and Richard and Christina Hook. Medieval Siege Warfare. Elite Series. London: Osprey Publishing, Ltd., 1990. **M** ISBN: 0-85045-947-8. Mr. Gravett supplies the text as Richard and Christina Hook provide the color illustrations in this exploration of medieval siege techniques. The text will be useful to fight directors, directors, dramaturgs, set designers, actors, costumers, and weaponsmakers. This brief text is 64 pages in length, includes 8 black and white photographs, 20 line drawn illustrations, 22 black and white reproductions of medieval works of art, and 11 color plates (illustrations of castles under siege, siege machinery, and soldiers). The Osprey Elite Series is similar to the Men-at-Arms Series with the following exceptions: the Elite Series offers a slightly expanded text and 12 color plates in contrast to the usual 8 offered in the Men-at-Arms Series. List of section titles: Introduction Castles and Fortified Towns The Crusades-The Castle at War- Castle Garrisons- Town Defense Setting a Siege Diplomacy-The Formalities of Siege Warfare-Laying a Siege-Raids, Sorties and Relief Forces-Surprise and Treachery Siege Techniques and Engines Pyrotechnics-Escalade-Sap and Mine-Ram and Bore Artillery Cannon-The Decline of the Castle Further Reading The Plates (illustrations of castles under siege, siege machinery, and various soldiers in action) Richard and Christina Hooks supply eleven high quality color plates which illustrate several castles under siege. Their work is typical of the excellent calibre of illustration Osprey utilizes to produce their Men-at-Arms, Elite, and Campaign Series. The focus of the illustrations (photographic and line drawn) is on the castles and machinery utilized in the siege. Weaponsmaker will also find a fair number of weapons illustrated and discussed at length in the text. Several actual sieges are discussed in the narrative. Medieval Siege Warfare offers a great deal of insight into the various techniques and machinery utilized in the precarious business of taking a medieval castle from an unwilling occupant.

60. Harding, David, ed. Weapons: An International Encyclopedia from 5,000 B.C. to 2,000 A.D. London: Galley Press, 1984. **8, B, I, D, V, M, R, T,E** ISBN: 0-86136-773-1. Mr. Harding has edited an excellent text for those looking for a cursory understanding of hundreds of weapons, their component parts, where, when, and how they were used, and by whom. The text is 320 pages with over 2,500 illustrations. Choreographers, actors, and directors alike

Books

99

will appreciate its brevity and clarity of organization. This encyclopedia is the "first book ever to attempt to bring together the full range of weapons from flint axes to nuclear missiles." This is a "must have" publication for anyone interested in the myriad weaponry mankind has utilized throughout the centuries. Weapons: An International Encyclopedia expends less print on historical narrative and more on technical description of each individual weapon and its use. The text's illustrations are geared toward a pragmatic understanding of the weapon. Weapons makers will find a modicum of artistic detail in these illustrations. The point here is to promote a clarity of understanding in terms of how the weapon functions. The illustrations offer concise breakdowns (exploded views) of the weapon's parts, as well as a sketch of how the weapon appears assembled. Internal diagrams with descriptions of moving and mechanical parts are also presented, as are line drawn illustrations of various soldiery and duelists using the weapons in action. For weapons makers interested in detail, it might be suggested that actual photographs of the surviving antique weapon be sought out, as there are none to be found here. However, period woodcut prints are reproduced and we see actual examples taken from the various historical periods in question. This is a monumental contribution to its field. Table of Contents: Chapter 1: Arming the Hand Chapter 2: Hand-Thrown Missiles Chapter 3: Mounted Missile-Throwers Chapter 4: Positioned Weapons Chapter 5: Bombs and Self-Propelled Missiles Chapter 6: Chemical, Nuclear, and Biological Weapons There is also a highly useful section which groups weapons according to geographical region and an historical index which groups weapons by period (Medieval, Renaissance, French Revolution, etc.). These indices could be very useful for quickly determining which weapons were in use in various countries during specific historical periods. The weapons appear in silhouette with indexing numbers next to them. The numbers are listed at the top of the page with the weapon's name next to each number. Next to each name appears a page number in parentheses where the reader may find a more comprehensive introduction to the weapon. This publication is a truly useful, time saving tool. The editor has also included a section referred to as "Famous Names." This section lists designers, inventors, scientists, arsenals, commercial companies, and towns which have exerted significant influence in the world of weaponry.

61. Hardy, Robert. Longbow: A Social and Military History. New York: Arco Publishing Co., Inc., 1976. **D, V, M** ISBN: 0-668-04080-7. Longbow explores the weapon itself, the ancient archer, and the weapon's ascendancy to its preeminent position in the English military due to its success at the battles of Crecy, Poitiers, and Agincourt. The text is

100

Stage Combat Resource Materials

216 pages, with 86 black and white photographs, 14 color photographs, 13 line drawings, and 4 graphs. The book will be of most use to fight directors, actors, directors, and dramaturgs. Here is an excellent source for anything having to do with the longbow and its use in battle in the Middle Ages. Robert Hardy was a respected actor of stage and film in England. He is also an avid archer with a keen interest in the history of the longbow, not to be confused with its mechanical brother the crossbow. Mr. Hardy digs quite deeply into what archeological evidence exists to prove that the longbow was prolifically in use throughout the world 8,000 years ago! How the armies were raised, their weapons, their uniforms and armor, their training, their pay, how leave was obtained, the weather, the terrain, and the role the longbow played in all of the above is offered with an actor's keen sense of image and drama. He also offers his opinions as to why the French never quite took to the longbow with the same passion as the English. Hardy also takes up the War of the Roses and the horrifying results of having both sides of the conflict armed with the longbow. The longbow is also considered as a weapon for sport, but this is not this book's focus. Included is a technical appendix written by Henry Blyth (Reading University), Professor P. L. Platt (Imperial College of Science and Technology), and Peter Jones (Royal Armaments Research and Development Establishment) that explores range, penetration, and the general physics of the longbow and its "grey goose shaft." Table of Contents: 1. 2. 3.

The Beginnings The Longbow in Britain From Edward I in Wales to Edward III in France-the Longbow Comes of Age 4. The Archer at Sea, in A River, and On the Downs at Crecy-enPonthiew 5. The Men of the Bow 6. The Long Road to Agincourt 7. From Joan of Arc to Roger Ascham 8. Playing Bows and Arrows 9. The American Way 10. The Weapon of the Hunt Appendices include: The Design and Materials of the Bow (Blyth) The Arrow (Platt) The Target (Jones) A very useful publication for those involved in producing anything from a Robin Hood play to the Battle of Agincourt, or literally anything requiring the longbow.

62. Harrington, Peter. Culloden 1746. Campaign Series. London: Osprey Publishing, Ltd., 1991. **E**

Books

101

ISBN: 1-85532-158-0. Mr. Harrington offers a comprehensive examination of the incidents leading up to and including the battle of Culloden. It was in this battle which Charles Edward Stuart and his Jacobite forces made their final effort to defeat the English forces of the Duke of Cumberland in the hope of marching on England and placing the "Young Pretender" on the throne. This entry from the Osprey Campaign series will be of most interest to fight directors, directors, dramaturgs, costumers, actor-combatants, and weaponsmakers. The text is 96 pages in length, offers 58 black and white reproductions of period artwork, 8 maps and diagrams, and 10 color illustrations. Harrington begins his book by offering the reader information necessary for placing the battle at Culloden in historical context. Table of Contents: Background to the "Forty-Five" Opening Movements-The Battle of Prestonpans-The Invasion of England-The Campaign of Falkirk The Opposing Commanders Charles Edward Stuart, the "Young Pretender"-William Augustus, Duke of Cumberland The Opposing Armies The Royal Army: Infantry-The Royal Army: Cavalry-The Royal Army: Artillery-The Allied Contingent-The Jacobite Army-The Irish and French Contingents Cullodon: The Approach March The Opening Cannonade-The Highlander' Charge-The Cavalry Attacks on the Flanks-The Pursuit The Aftermath of the Battle The Battlefield Today Chronology A Guide to Further Reading Wargaming the "Forty-Five" This small book offers dozens of illustrations. The fight director will especially appreciate the "action shots." Color plates are offered by such artists as G. A. Embleton (one of his plates is borrowed from The Jacobite Rebellions 16891745, see the annotation in this bibliography), and R. R. McIan (who illustrated Clans ofthe Scottish Highlands, also annotated in this bibliography). Costumers will find a great deal of useful material. Unfortunately, weaponsmakers will not find any photographs of extant weapomy. They will have to rely solely on the various illustrations.

63. Haythornwaite, Philip and Bryan Fosten. Frederick the Great's Army (1): Cavalry. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1991. **E**

ISBN: 1-85532-134-3. Mr. Haythomwaite provides the narrative and Mr. Fosten the color illustrations in this first of three entries to explore the Prussian

102

Stage Combat Resource Materials

Army of Frederick the Great. The first entry covers the cavalry, the second discusses the infantry, and the third examines the Specialist troops of Frederick the Great. The book will be of interest to fight directors, directors, dramaturgs, actors, costumers, and weaponsmakers . The text is 48 pages in length, offers 33 black and white illustrations, 11 line drawn illustrations, 8 color plates (illustrations), and a list of sources. Mr. Haythomwaite begins his text by waxing eloquent regarding the accomplishments of the Prussian army under Frederick II. In his introduction he discusses, at some length, the reforms which resulted in the Prussian military machine becoming the envy of Europe. List of section titles: Introduction Men and Mounts-Tactics-The Charge-Skirmishing-Regimental Titles Heavy Cavalry Cuirassiers-Regimental Details- 1st-13th Cuirassiers-Dragoons-1 st12th Dragoons Hussars 1st-10th Hussars-Bosniaken Standards The Plates (illustrations) Included are color illustrations of several Cuirassiers from various regiments, a Standard Bearer, a Trumpeter, several Cuirassier Troopers, various Dragoons, a Drummer from the Fifth Dragoons, several Hussars, and an officer of the Bosniaks in a winter uniform. There are also several illustrations depicting cavalry charges and battle scenes.

64. Hayward, J. F. Swords and Daggers. Stationary Office, 1963. **R, T, E**

London: Her Majesty's

ISBN: 11-290077-1. Here is a publication of substantial aid to those who build swords for the stage and screen. Broadsword, Saxon sword, rapiers of all notable hilt styles and periods, hangers, hunting swords, and small-swords of exquisite detail are faithfully represented by photographs. There are 57 pages in the book which includes 46 black and white photographic plates, and 11 line drawn designs for sword hilts. J. F. Hayward offers us an insightful glance at the collection of swords and daggers housed in the Victoria and Albert Museum as of 1970. Out of the 57 pages that make up what he refers to as this "booklet," only II are text; the remaining 46 pages are very competently produced black and white photographs of the weapons discussed in the text. There is much here regarding the region where a blade was made and, when possible, something about the craftsman who made the blade or hilt-or the forger who plagiarized the bladesmith's mark or hilt-maker's style. Much of the intricate detail fashioned into the hilts of these handsomely mounted weapons would be lost onstage. Nevertheless, the detail is there for the swordmaker to access should

Books

103

the occasion arise where it was necessary to produce such a weapon-perhaps for a close-up in a motion picture.

65. Heath, Ian and Angus McBride. Byzantine Armies 886-1118. Men-atArms. London: Osprey Publishing, Ltd., 1979. **D, M** ISBN: 0-85045-306-2. Mr. Heath provides the narrative and Mr. McBride the color illustrations for this work on the armies of Byzantium during the Dark Ages until the early Middle Ages. The book will be of most use to fight directors, directors, dramaturgs, actors, costumers, armorers, and weaponsmakers. The text is 40 pages in length, offers 25 black and white photographs, 6 line drawn illustrations, 1 map, and 8 color plates (illustrations). Mr. Heath begins his narrative by discussing the Byzantine's political acumen and their uncanny ability to negotiate treaties, to threaten, and to bribe their adversaries. List of section titles: Introduction Organization Pay-Equipment- Armour- Shields- Weapons The Tagmata The Theme System Mercenaries The Terrible Day: Manzikert 1071 The Post-Manzikert Period The Plates (illustrations) McBride's illustrations offer renderings of Skutatos (light infantryman, eleventhtwelfth centuries), Skutatos (c. 950), Peltastos (c. 975), Skutatos (tenth century), an unarmored infantryman, Psilos (tenth century), kataphractos (cavalry-tenth century), klibanophoros (heavy cavalry-c. 970), the Emperor in parade armour (c. 1017), Russ mercenaries, Varangian guardsmen, a Patzinak mercenary, and several other Byzantine warriors. All of these illustrations offer a great deal of information for the fight director, costumer, armorer, and weaponsmaker. Many of the illustrations, and much of the text, reflect the Eastern influence present in the Byzantine culture.

66. Hindley, Geoffrey. Medieval Warfare. New York: G. P. Putnam's Sons, 1971. **M** LCCN: 70-147285. Mr. Hindley offers an addition to the Putnam Pictorial Sources Series. This particular entry takes as its focus warfare from the collapse of the Western Roman Empire through A.D . 1500. The book will be of use to fight directors, directors, dramaturgs, armorers, weaponsmakers, costumers, and actor-combatants. The text is 128 pages in length, offers over 260 black and white and color photographs, a further reading list, and an index. Mr. Hindley

104

Stage Combat Resource Materials

offers a sweeping, if cursory, account of the development of warfare A.D. 600 to A.D. 1500. He begins by examining the Byzantine military, its similarities to that of Western Rome, and its differences due to the adopting of certain Eastern technologies, weapons, and tactics. Table of Contents: 1. 2. 3. 4. 5.

The Heirs of Rome The Materials of War Lords in War and Peace Soldiers and Chevaliers Warriors of God

There is a fair amount of information on armor, weapons, the supremacy of the mounted knight, the use of siege machinery, the knight in sea battles, and copious examples of artwork from the period. There are several a number of battle scenes depicted in antique artwork and artwork from the modem period. The weaponsmaker will appreciate the several photographs of extant weapons from the era such as war hammers, maces, swords, halberds, poleaxes, etc. The impact of the bow on medieval warfare is also discussed. There is also some discussion offered on the introduction of the stirrup and the impact it had on mounted combat. 67. Hobbs, William. Fight Direction for Stage and Screen. Portsmouth, N.H: Heinemann, 1995. **H, D, V, M, R, T, E** ISBN: 0-7136-4022-7. William Hobbs, who many consider to be the finest fight arranger in the world in Western European styles, offers some insight to staging fights for the theatre and cinema. This is an excellent book for the competent actor-combatant who wants an articulated introduction to staging fights, or for the director who wishes to more completely understand what exactly it is the fight director does. The fight director will appreciate his thoughts on theory and how to design the fight before one decides upon the specific "strokes." The text is 143 pages in length, with 106 illustrations, 74 drawings, 32 black and white production photographs, 6 diagrams, 44 notation symbols, and a foreword by Sir Laurence Olivier. This book is a revision of an earlier text penned by Hobbs, Stage Combat: The Action to the Word (1980). It will be most valuable to the choreographer and the director. Hobbs began his career as a competitive fencer in Australia and has since gone on to choreograph fights for many of the world's most prestigious theatre companies and film directors. His many exemplary credits are too numerous to list, but include: ten years as resident Fight Director at the National Theatre of Great Britain under the artistic direction of Sir Laurence Olivier; Richard Lester's The Three Musketeers and The Four Musketeers; Robin and Marian, once again in collaboration with Richard Lester; Ridley Scott's The Duelists; John Boorman's Excalibur; Richard Donner's Ladyhawke; and more recently, the film Dangerous Liaisons. His book does not deal at aU with competitive fencing technique, detailed historical perspective, exercises, or drills. However, it does have a section that briefly touches on

Books

105

sword attacks and parries. Some combat teachers have complained that Hobbs's book is too cavalier in its presentation of techniques in the chapter entitled "Sword Strokes, Some Basic Movements and Their Execution." If Hobbs does not dwell on this chapter it could be that he assumes a basic level of expertise and is gearing his book to the more experienced combatant/choreographer. His book is most effective on the theoretical/philosophical level, where Hobbs attempts to encourage fight directors to put more thought into their fights and not simply string a series of cuts, thrusts, and parries together. Table of Contents: Chapter I : Background Chapter 2: Analysis and Construction Chapter 3: Movement and Patterns Chapter 4: Fight Orchestration Chapter 5: The Element of Surprise: or, the Search for the Unusual Chapter 6: Safety Precautions and Method of Rehearsing Chapter 7: Sword Strokes, Some Basic Movements and Their Execution Chapter 8: Battle Scenes and Mass Fights Chapter 9: Non-Realistic Fights Chapter 10: Historical Accuracy Chapter II: Unarmed Combat Chapter 12: Fight Notation Chapter 13: Acting Intention and Acted Intention Chapter 14: Swords-A Brief History Chapter 15: General Information Chapter 16: Fight Cliches: or the Art of Coarse Fighting For Hobbs fans there are several photographs from theatrical and cinematic productions with which he has been involved. Hobbs's sense of humor is evident throughout, but perhaps no more so than in his chapter entitled "Fight Cliches: or the art of coarse fighting." Mr. Hobbs also offers his personal system of symbols for the notating of fights. Most fight directors, however, tend to utilize a system that is somewhat less cryptic than Mr. Hobbs's.

68. Hogg, Ian V. and John H. Batchelor. Armies of the American Revolution. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1975. **E** ISBN: 0-13-046573-9. Mr. Hogg's book offers several hand drawn color illustrations of cut and thrust weapons utilized during the Revolutionary War. Mr. Batchelor supplies approximately 125 illustrations in black and white and in color. These renderings are generally accurate, if somewhat lacking in detail. Swordmakers might consider looking elsewhere for photographic detail, but there are some fine illustrations that depict close-ups of several sword hilts from the period. Costumers will probably appreciate the several uniforms that are faithfully rendered in addition to the weapons. Ian V. Hogg, a former Master Gunner of the British Army, offers an informed description of the men and

106

Stage Combat Resource Materials

weapons engaged in the American war for independence. Hogg examines the methods of construction of their rifles, muskets, artillery, small arms, and swords. The chapter on edged weapons discusses the several swords, bayonets, and pole arms usedin this conflict; how the bayonet was used to discourage cavalry charges; and how-when necessary-it could be used in one-on-one combat. Table of Contents: Chapter 1: Chapter 2: Chapter 3: Chapter 4: Chapter 5: Chapter 6:

The Soldiers Muskets and Rifles Pistols Edged Weapons Artillery Ammunition

The authors also discuss and illustrate several nonstandard issue weapons used by American soldiers, such as tomahawks and hatchets.

69. Holden, Matthew. The Legions of Rome. Wayland Publishers, Limited, 1973. **B,I**

East Sussex, England:

ISBN: 85340-191-8. Matthew Holden offers a publication of use to the director and actor who are attempting to learn about the legions of Rome quickly and are not in need of scholarly detail. This small book, only 96 pages in length, is very light on text but offers over 61 illustrations taken from art of the period, stone carvings, statues, artwork from subsequent periods, surviving architecture, and original illustrations. Holden also offers an index and list of suggested readings. The Legions of Rome is an informative look at the legions of the Roman Republic and Empire periods. Table of Contents: Chapter 1: The Beginnings of Rome Chapter 2: The Roman Empire Chapter 3: The Legions at Peace Chapter 4: The Legions at War Chapter 5: The Decline of Rome One of the pleasantries of the book is its presentation of the Roman soldier as a human being-homesick, scared, bored, tired, and often far from his native soil. The book follows one young recruit as he experiences his training with weapons (sword and spear), and remains with him as he marches off to and experiences his first battle. At the end of the text the reader will find a "Table of Dates," which points out pertinent dates in the evolution of Roman civilization. The reader will find the glossary particularly useful, especially when dealing with the Latin names of weapons, equipment, battle formations, ranks of command, etc. mentioned throughout the text.

Books

107

70. Holmes, M. R. Arms and Armour in Tudor and Stuart London. London: Her Majesty's Stationary Office, 1957. **M, R** ISBN: 11-290062-3. Mr. Holmes presents several photographic plates of cut and thrust weapons from the English Renaissance housed at the London Museum. These photographs are accompanied by brief essays on swordmakers such as the Greenwich Armoury and the Hounslow Sword Company. This book will be of most use to weaponsmakers, fight directors, directors, and actorcombatants. This brief photo-essay is 40 pages in length, offers 32 black and white photographs and 18 line drawn illustrations, and descriptive paragraphs about each weapon or piece of armor in the publication. Mr. Holmes presents some handsomely mounted black and white photographs of 33 daggers, swords, bucklers, helmets, cuirasses, rapiers, hangers, two-handed swords, armorers marks, chain-mail, and a complete suit of armor. Table of Contents: Arms and Armour in London The Greenwich Armoury The Armourers' Company The Sword and its Development The Plates The Hounslow Sword Factory Dagger Mr. Holmes begins by discussing Henry VIII's interest in building up his armory; the king's realization that his domestic bladesmiths were not producing a viable product. His importation of German and Dutch bladesmiths led to the beginning the Greenwich Armoury.

71. Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Perfection. Boulder, Co.: Paladin Press, 1987. **H, B, I, D, V, M, R, T, E** ISBN: 0-87364-430-1. Master Bladesmith, Jim Hrisoulas, puts the secrets of his success in print. The book will be of most use to weaponsmakers engaged in producing knives and daggers for the stage. The text is 179 pages in length, offers 58 black and white photographs, over 100 line drawn illustrations, 2 appendices and bibliography. Jim Hrisoulas is one of the truly great knife and swordmakers this country has produced. His craftsmanship is world renowned due to the high quality of the blades he produces and the level of artistry in his handle, sheath, and scrimshawing (handle etching) technique. Table of Contents: Chapter I: The Workshop and Tools of the Trade Chapter 2: Steels to Use Chapter 3: Fire and Forge Chapter 4: Forging Blades Chapter 5: Rough Grinding

108

Stage Combat Resource Materials

Chapter 6: Heat-Treating Chapter 7: Final Grinding Chapter 8: Fittings Chapter 9: Grip Materials Chapter 10: Grip Making Chapter 11: Polish and Finish Chapter 12: Sharpening Chapter 13: Leatherwork Chapter 14: Scrimshaw Chapter 15: Sword Making Chapter 16: Damascus Steel Chapter 17: Heat-Treating Damascus Steel Chapter 18: Damascus Patterns Chapter 19: Cable Blades Chapter 20: The Japanese Blade Chapter 21 : Japanese Heat-Treating and Polishing Appendix A: Compounds Appendix B: Weights and Measures Bibliography Those who wish to construct and maintain knives and daggers for the stage and screen will find a great deal of useful material in this information packed publication. Mr. Hrisoulas is a prolific writer in his field. His newest offering is The Pattern-Welded Blade: Artistry in Iron .

72. Hunt, M. Briggs and Norman Miller. Beginning Wrestling. Sports Skills Series. Belmont, Ca.: Wadsworth Publishing Company, Inc., 1970.

**H, U** LCCN: 74-115824. This small book is surprisingly full of takedowns, breakdowns, rides, reverses, escapes, and pinning combinations. The book will be of most use to the fight director or instructor of stage combat involved in staging or teaching unarmed stage combat techniques. The text is 57 pages in length, offers 205 black and white photographs of various techniques in various stages of development, 3 diagrams, a glossary, and a bibliography. As with any book of this nature, the techniques contained within it are geared for the formal situation of a competitive wrestling match. However, with a little imagination the clever fight director can adjust many of these moves so as to be useful in the creation ofa less formal "street-fight" for the stage or screen. Table of Contents: Chapter 1: Values Chapter 2: History Chapter 3: Equipment Chapter 4: Techniques of Participation The Warm-Up Basic Positions

Books

109

Open Stance Position-The Closed Stance- Referee's Position on the Mat Basic Holds Breakdowns-Rides-Pinning-Combinations-Reverses and Escapes-Takedowns-Counters to Foot Rides-Come Outs from Pinning Situations-Go Behinds from the Head-to-Head Position on the Mat- Counters Against Leg Dives- Counters Against a Standing Headlock Chapter 5: Rules Chapter 6: Training Program Chapter 7: Glossary Chapter 8: Self-Testing and Evaluation Chapter 9: Bibliography The format of this informative little book dictates that the over 200 photographs are somewhat small. Notwithstanding the lack of size in the illustrations, this is a very useful text that is quite full of techniques just waiting to be adapted to stage and screen.

73. Hutton, Alfred. The Sword and the Centuries, Or Old Sword Days and Old Sword Ways. Rutland, Vermont: Charles E. Tuttle Company, 1901 (second edition: 1973; third edition: 1980). **D, M, R, T, E**

ISBN: 0-8048-0943-7, LCCN: 72-130411. For those fight directors, directors, and actor-combatants who have been seeking out a publication which will give them detailed accounts of actual duels, duelists, the weapons they used, and how they used them. Hutton's book is 367 ages in length and includes 48 black and white illustrations (many are reprints from ancient fencing publications). This informative and entertaining book is a reprint of Hutton's 1901 edition originally published by Grant Richards, London. Hutton has succeeded in compiling several stories and anecdotes of "combats a courtesie" and "combats a outrance" from the Middle Ages through the tum of the twentieth century. Mr. Hutton gleans from the best chroniclers of the times. Hutton does an admirable job of while serving as narrator, translator, and editor; and does so with no little sense of humor along the way. He introduces us to the sword in the Age of Chivalry, describing the weapon in detail and then whisks us off to experience several accounts in which this weapon was actually used. Table of Contents: BOOK I: THE AGE OF CHIVALRY Chapter 1: How the Lord of Ternant and the Spanish Esquire Galiot de Balthasin Fought on Foot and on Horseback for Knightly Honour Chapter 2: How the Good Knight Jacques de Lalain and the English Esquire Thomas Que Fought with the Great Axe Chapter 3: How Two Tailors fought to the Death with Shield and Cudgel Chapter 4: How the Good Knight Sans Peur et sans Reproache Fought in the Lists with the Estoc Against the Spaniard Sotomaior, and Slew Him

110

Stage Combat Resource Materials

Chapter 5: How the Baron d'Aguerre fought with the Lord of Fendilles with the Bastard Sword, and what came of it Chapter 6: The Two-Handed Sword Chapter 7: Of the Sword and Buckler, and How the Sieur de Jarnac Fought in the Lists with the Lord of Chastaigneraie and How He slew Him Chapter 8: The Ancient Method and Usage of Duels before the King BOOK II: THE PERIOD OF THE RAPIER Chapter 1: The Rapier and its Auxilliaries Chapter 2: Of Certain of the Evils which arose from the Vow of Henri II. Chapter 3: How the Admirable Crichton Fought with an Italian Bravo at Single Rapier and Slew Him, and How Afterwards He was Slain with Unfair Advantage Chapter 4: Of Chivalrous Amenities Among the Rapier Men Chapter 5: Of the Dagger Chapter 6: The Merrie Pranke of Long Meg of Westminster, and How She Vanquished a Spanish Knight with her Sword and Buckler Chapter 7: Of the Two Swords, or the "The Case of Rapiers" Chapter 8: Of Further Inconvenients which Ensued from the Rash Vow of Henri II of France Touching what Resulted from the Duel of the Mignons Chapter 9: George Silver, Gentleman Chapter 10: The Reign of Richelieu Chapter 11 : The Sword of Justice BOOK III: THE PERIOD OF TRANSITION Chapter 1: The Flamberge and the Early Small Sword Chapter 2: The "Colichemarde" Chapter 3: The Small Sword, and Three Famous Fencers BOOK IV: THE PRIZE-PLAYERS AND THE PRIZE-FIGHTERS Chapter 1: The Prizes and their Players Chapter 2: The "Gladiating" Prize-fighter Chapter 3: The Broadsword BOOK V: THE NINETEENTH CENTURY Chapter 1: The Duelling Sword Chapter 2: The Sabre Chapter 3: Cudgelling-Backswording-Singlestick. There is no credit given to the illustrator. However, the illustrations are not the primary concern of this publication. It is in the colorful recounting of the actual duels where Hutton's book truly shines. If the reader is interested in narrative accounts of actual combats, a more informative and entertaining resource than this will be difficult to find.

74. Jeffreys, Steven. A Medieval Siege. London: Wayland Publishers, Inc., 1973. **M**

Books

111

No ISBN available. In this entry in the Sentinel Book Series, Mr. Jeffreys offers a brief examination of the art of siege warfare in the Middle Ages. This book will be of use to fight directors, directors, dramaturgs, actor-combatants, armorers, and weaponsmakers. The book is 96 pages in length, offers over 70 black and white and color illustrations, a table of dates, a glossary, further reading list, a glossary, and an index. This book will be of use to the fight director or director who wants to gain a general understanding of the topic without going into a great deal of detail. Table of Contents: XIX.

Targets of Siege Warfare Why Castles?-Castles in War-Building a Castle-Castle Design-The Siege of Chateau Gaillard-The Duties of the Castellan-Besieged by Infidels-Krak des Chevaliers-Morale in the Siege-The Finding of the Holy Lance Xx. Armaments and Tactics Slings and Batteries-Siege Towers-The Siege of TowerCounter-attack-An Inventor Under Siege-Greek FireGunpowder-InfantryWeapons-MiningChivalry Underground-Drifting Victory XXI. The Laws of the Siege The Rights of a King-Unconditional Surrender-Siege Formalities-The Rights of a Soldier XXII. Cities Under Siege Citizens at War-The Siege of Rouen-Terrors of the Siege-The Burghers of Calais-Pageantry and Chivalry-The Horrors of Defeat-Treachery and Discontent-Warrior of God-The Siege of Orleans-Constantinople-The Fall of Constantinople-The End of an Era Table of Dates Glossary Further Reading Of some interest will be the dozens of detailed illustrations featuring antique artwork from the Middle Ages and the Renaissance. These illustrations feature citizens and soldiers in the throes of siege and battle.

75. Keegan, John. The Face of Battle. New York: Dorset Press, 1976. **D, V, M** ISBN: 0-88029-083-8. In The Face of Battle, Mr. Keegan offers an extensive examination of three battles: Agincourt, Waterloo, and the Somme. This book will be of most use to fight directors, directors, and dramaturgs in its ability to weave history, strategy, and first person narrative into a cohesive whole. The book is an articulate 355 pages in length, includes four black and white photographs, five black and white reproductions of famous battle paintings, a bibliography, and an index. Mr. Keegan served as a political analyst for the

112

Stage Combat Resource Materials

United States Embassy in London from 1958 to 1960, and has been Senior Lecturer in War Studies at the Royal Military Academy at Sandhurst. The following astute observation appears on the dust-cover regarding Mr. Keegan's tome:

In this major and wholly original contribution to military history, John Keegan reverses the usual convention of writing about war in terms of generals and nations in conflict, which tend to leave the common soldier as cipher. Instead he focuses on what a set battle is like for the man in the thick of it-his fears, his wounds and their treatment, the mechanics of being taken prisoner, the nature of leadership at the junior level, the role of compulsion in getting men to stand their ground, the intrusions of cruelty and compassion, the very din and blood. The Face of Battle offers fascinating glimpse into the mind of the common soldier as he attempts to walk the fine line between duty and self-preservation. Once one perserveres beyond the introductory material on the nature of recording military history, there is a wealth of material about the strategy of battle, the psychology of the individual soldier, as well as factual information regarding how the three battles chosen for analysis actually unfolded and concluded. Table of Contents: Chapter 1: Old, Unhappy, Far-off Things A Little Learning The Usefullness of Military History The Deficiencies of Military History The 'Battle of Piece' 'Killing No Murder?' The Narrative Tradition Verdict or Truth? Chapter 2: Agincourt, October 25 th , 1415 The Campaign The Battle Archers versus Infantry and Cavalry Cavarly versus Infantry The Killing of the Prisioners The Wounded The Will to Combat Chapter 3: Waterloo, June 18 th , 1815 The Campaign The Personal Angle of Vision The Physical Circumstances of Battle Categories of Combat Single Combat Cavalry versus Cavalry Cavarly versus Artillery

Books

113

Cavarly versus Infantry Artillery versus Infantry Infantry versus Infantry Disintegration Aftermath The Wounded Chapter 4: The Somme, July 1't, 1916 The Battlefield The Plan The Preparations The Army The Tactics The Bombardment The Final Preliminaries The Battle Infantry versus Infantry The View from across No-man's-land The Wounded The Will to Combat Commemoration Chapter 5: The Future of Battle The Moving Battlefield The Nature of Battle The Trend of Battle The Inhuman Face of War The Abolition of Battle Bibliography Index Three of the engagements discussed in The Face ofBattle fall outside the scope of this bibliography. The only battle discussed which actually occured before 1800 was the Battle of Agincourt, 1415 . However, the insights offered on Napoleon and Wellington's stand-off at Waterloo, in 1815, presents much valuable information in terms of cut and thrust battle technique utilized during the eighteenth well as the nineteenth century; sabre, bayonet, and lance-to name a few. SAFD Fight Master J. Allen Suddeth highly recommends this scholarly analysis of three major battles and how the common soldier faces his fears, duty, and the enemy.

76. Kiernan, V. G. The Duel in European History; Honour and the Reign of Aristocracy. New York: Oxford University Press, 1988. **M, R, T, E** ISBN: 0-19-822566-0. Kiernan's book is probably most useful to fight directors, directors, drarnaturgs, and actors who want a better understanding of how dueling fit into the social structure of the societies which sanctioned it as an institution. The Duel in European History is 348 pages in length and contains a

114

Stage Combat Resource Materials

bibliography, an index, and 14 black and white photographs and photographic reproductions of woodcuts, illustrations, etc. It will be of most aid to those seeking a more complete understanding of the psychology of the duelist within the greater social milieu. There are many references to actual historical duels. However, these references tend to be cursory and the fight director will gain little in terms of dueling technique from examining them. This book is a welldocumented scholarly exploration of the evolution of the duel from its medieval beginnings to its demise in the early twentieth century. It also examines public opinion regarding the duel during various historical periods and nations via legislation, religious sermons, diaries, contemporary chronicles, and the musings of literary figures that wrote of the duel contemporaneous with its practice. Kiernan compares several social structures at work in various European countries (and their colonies) and how dueling reflected the social underpinnings of those societies. Table of Contents: Chapter 1: The Problem of the Duel Chapter 2: Ancient and Primitive Analogies Chapter 3: Europe of the Knights Chapter 4: Emergence of the Modem Duel Chapter 5: The Spread of the Duel Chapter 6: Grudges and Grievances Chapter 7: Procedure and Etiquette Chapter 8: The Psychology of Honour Chapter 9: Honour and Enlightenment Chapter 10: Decline and Rebirth Chapter 11: Britain: The Final Decades Chapter 12: Walter Scott and Honour Chapter 13: Later British Writers Chapter 14: Western Europe: The Hundred Last Years Chapter 15: Under Old Monarchies Chapter 16: Europe Overseas Chapter 17: Epilogue Retrospect Kiernan also examines the aristocratic concept of honor and its relationship to the various "punctilios" or "codes" (including the Chivalric Code and the Code Duello) and contemporary dueling etiquette. This is a very scholarly text which contains a wealth of information. The Duel in European History offers a bibliography which is an excellent resource for additional publications on dueling. All entries dealing specifically with duels are preceded by asterisks.

77. Kist, J. B. Jacob de Gheyn: The Exercise ofArms; A Commentary. New York: McGraw-Hili Book Company, 1971. **R** ISBN: 07-016237-9 (McGraw-Hill); 90-6087-271-1 (De Tydstroom); LCCN: 77-146168. Mr. Kist offers a very informative commentary on the military

Books

115

exercises of Jacob de Gheyn. The book will be of interest to fight directors, directors, dramaturgs, costume designers, armorers, weaponsmakers, and actorcombatants. The commentary is 47 pages in length, offers 80 black and white photographic plates, and a bibliography. This commentary includes a copy of de Gheyn's Exercise of Arms. Eighty-five of de Gheyn's plates deal with the loading and firing of the matchlock. The rest of the 32 plates present a pike drill broken down into its component parts and commands. The reprint of de Gheyn's book which accompanies the commentary is printed in Dutch, making Kist's translation of the commands and his commentary that much more valuable. This would be an excellent resource for anyone who is interested in recreating a pike company for historical reenactments, Renaissance faires, etc.

78. Koch, H. W. History of Warfare. New York: Gallery Books, 1981. **B, I, D, V, M, R, T, E** ISBN: 0-8317-4492-8. History of Warfare is a comprehensive and scholarly examination of warfare from the Roman Empire through the Nuclear Age. Two of Dr. Koch's other books-Medieval Warfare, and The Rise ofModern Warfare deal with much of the same material covered in this publication. This book will be of most use to the dramaturg, the director, the fight director, the costumer, the weaponsmaker, and the actor. The text is 373 pages in length, offers nearly 1,000 illustrations (black and white and color photographs, reproductions of woodcuts, prints, portraits, paintings of battle scenes, maps, etc.), and an index. Dr. Koch is a well known expert on military history who has lectured at such prestigious institutions as the University of York and the University of Munich. Not only is his scholarship extensive and impressive in its scope, but the hundreds of illustrations which appear make it a pleasurable book to look at. History of Warfare offers hundreds of reprints of beautiful period portraits, paintings of famous warriors, and artistic renditions of famous battle scenes. List of section titles: Introduction The Roman Empire and the Rise of the Barbarians The Challenge from the East The European Response: Feudalism England and the Feudal Military System The Social and Military Aspects of Knighthood The Crusades The Teutonic Order Transformation of Warfare The Condottieri and Mercenary Corps Professionalism Renaissance Trends The Beginnings of Modem Warfare The English Experience Army and Absolutism in France

116

Stage Combat Resource Materials

The Rise of Prussia The New Sparta The Climax of Absolutist Warfare Warfare in the New World The "General Will" The New Age: Napoleon The New Age: The German Reaction Clausewitz and Total War Army and Society: France Army and Society: Britain Army and Society: Germany The Forgotten Wars World War I World War II The Nuclear Age

History of Warfare is an impressive resource, dense with information and illustrations which artfully supplement the narrative. Fight directors will enjoy examining the composition of the combat present in the artwork. The director and dramaturg will enjoy the historical narrative. 79. Lacombe, M. P. Arms and Armour in Antiquity and the Middle Ages. Translated by Charles Boutell. London: Reeves and Turner, 1905. **S, B, I, D, M, R, T** No ISBN available. Charles Boutell, author of English Heraldry, offers his translation from the French of M. P. Lacombe's original-to which Boutell adds an additional chapter on arms and armor in England. The book will be of most use to fight directors, armorers, weaponsmakers, directors, actors, and dramaturgs. The text is 296 pages in length, offers 71 line drawn illustrations, 22 black and white photographs, an appendix, and notes. This is a substantial piece of scholarship which begins with the Stone Age and examines arms and armor from virtually every major period in Western European warfare through the seventeenth century. However, it should be mentioned that the Vikings are conspicuously missing from the study and the text stops short of examining eighteenth century weapons such as the small-sword and the dueling pistol. Table of Contents: Chapter I: The Weapons of the Stone Age Chapter II: The Arms and Armour of the Bronze Age Section I-Arms and Armour of the Assyrians Section II-Arms and Armour of the Gauls Section III-Arms and Armour of the Greeks of the Heroic Ages Chapter III Section I-Arms and Armour of the Greeks and Persians Section II-Arms and Armour of the Etruscans

Books

117

Chapter IV: Arms and Armour of the Romans Section I-Defensive Armour Section II-Offensive Weapons Chapter V: The Decoration of Ancient Arms and Armour Chapter VI Section I-Weapons of Savage Races Section II-Arms and Armour of the Franks of the Era of Clovis-A.D. 481-511 Section III-Arms and Armour of the Franks of the Era of CharlemagneA.D. 768-814 Chapter VII: Arms and Armour of the Middle Ages, Part I. Chapter VIII: Arms and Armour of the Middle Ages, Part II. Chapter IX: Arms and Armour of the Transition Era-Sixteenth and Seventeenth Centuries. Chapter X: Arms and Armour in England Chapter XI: Modem Arms: Part I-Artillery Part II-Small Arms Appendix: Remarkable Examples of Arms and Armour M. P. Lacombe (and defacto, Mr. Boutell) make use of many ancient sources such as sections from Homer's Iliad in his examination of the hoplite and phalanx of ancient Greece. He also turns to such ancient historians as Polybius and Vegitius in his discussion of the weapons, armor, and the legions of ancient Rome. This is a work which stands on its substantive narrative as opposed to its illustrations. It should also be noted that although the focus of the text is on arms and armor the fight director will also find numerous references to fighting tactics and combat technique.

80. Lane, Richard. Swashbuckling: A Step-by-Step Guide to the Art ofStage Combat and Theatrical Swordplay. New York, NY: Limelight Editions, 1999. **H, B, I, D, V, M, R, T, E** ISBN: 0-87910-091-5. Richard Lane, is an Society of American Fight Directors Certified Teacher and Fight Director. He also serves as the Executive Director of The Academy of the Sword in San Franciso, California. Mr. Lane is an accomplished teacher, fight director, and author. In addition to Swashbuckling, Mr. Lane co-authored In Search of the Woman Warrior: Four Mythical Archetypes for Modern Women with Jay Wurts and Marrion Zimmer Bradley. This How-To manual features a forward by the late Oscar F. Kolombotovich, former Fencing Master: Metropolitan Opera, New York; U.S. Miltary Academy, West Point, New York; former U.S. Team World Championship; and the former Executive Secrtary of the Historical Fencing Society. Mr. Kolobotovich offers up the following praise,

118

Stage Combat Resource Materials No longer is it possible to mount a production... where the combatants flail the air and on cue, fall down and expire .. .The public is too aware, too exposed to swashbucklers on the screen...Now the bible is available; the commandments have been inscribed and brought down from the mountain. Read this, pay (Foreword) heed and you will avoid sin and suffering.

Mr. Lane has provided an excellent primary text for the student engaged in taking a course under the tuteledge of a qualified instructor. The book is 329 pages in length, offers 292 black and white photographs, 8 illustrations, 3 templates (Fight Captain's Report, Daily Fight Report, and Fight Director's Report Form), glossary, bibliography, and various appendices. This book will be an excellent resource for the fight director, teacher of stage combat, actorcombatant, and director. Table of Contents: Part 1: Combat and Theatre 1. "They Fight" 2. Your Role as Actor-Combatant 3. Getting to Know Your Sword 4. Getting Ready for Swordplay Part II: Stage Fighting Technique and Basic Swordplay 5. Stretching and Warming Up 6. Staging Unarmed Combat 7. Swordfighting Footwork 8. Defensive Rapier Forms 9. Attack Rapier Forms 10. A Solo Rapier Form 11 . Swaschbuckling with Broadswords Part III: The Compleat Swashbuckler 12. Working with Fight Directors 13. Swashbuckling and a Theatrical Career Appendices Sample Fight Forms Glossary of Stage Combat and Swordfighting Terms Bibliography Further Reading Instructional and Educational Videos SAFD Certified Teachers, Colleges, and Others Offering Stage Combat Training The Stage Combat Mailing List Weapons, Props, and Costume Suppliers In Swashbuckling, Mr. Lane provides a solid and stalwart introduction to the study of theatrical swordplay techniques. In his Introduction Mr. Lane offers a subsection entitled "Can You Really Learn Stage Combat from a Book?" In this brief subsection Mr. Lane is most careful to warn his reader,

Books

119

Only an experienced instructor can tell you how well you are performing a given technique and help you separate unconscious bad habits from good muscle memory....However, a book like this can go a long way toward parparing you for such instruction, and then help you remember and perfrct the techniques you've learned, even if they differ slightly from those presented here. (p.7) Armed with this proviso the reader will, indeed, gain a great deal from a careful study of this text in conjunction with taking a course under the tuteldege of a qualified instructor of stage combat. In addition to dozens of detailed descriptions of various attacks and parries, Mr. Lane engages the reader in some very thoughtful discussion on the the nature of violence, violence as utilized on the stage, illusion versus reality, general rules for fighting on stage, physical fitness, types of blades, parts of blades, focusing your energy, footwork, working with a fight director, warm-ups, and historical swordplay. The book focuses primarily on swordplay (specifically single rapier, rapier and dagger, and broadsword) but also makes a cursory nod in the direction of unarmed combat techniques as well. Swashbuckling is an excellent resource for both the teacher and student of theatreical combat.

81. Latham, Sid. Knifecraft. Harrisburg, Pennsylvania: Stackpole Books, 1978. **H, B, I, D, V, M, R, T, E**

ISBN: 0-8117-0927-2. Bladesmith Sid Latham offers a book sure to be of use to those involved in making knives and daggers for the stage and screen. However, it should be stated that the techniques presented in this publication are intended to result in excellently crafted "sharps" as opposed to "blunted" stage weapons. The text is 240 pages in length, offers 245 black and white and colored photographs, an index, and a list of knifemakers and suppliers. Sid Latham is a photojournalist who worked for both Life magazine and as a war correspondent for International News Service. As of 1978 Mr. Latham was freelancing and dividing his time between photography, writing, and knifemaking. Mr. Latham has gathered information from what are undoubtedly some of the great knifemaking artisans of the world into one book. Each of the artists shares techniques and practices from their particular specialty. As is generally the case, much of the detail lavished on these weapons would be useless onstage. On the other hand, this sort of detail is entirely appropriate for film work. Knifecraft is intended to supplement the education of knifemakers. Table of Contents: 1. 2. 3. 4. 5.

Knives and Their Makers: A Brief Background What is a Knife Choosing the Right Steel All about Handles Knife Concept and Design

120 6. 7. 8. 9. 10. 11 . 12. 13. 14.

Stage Combat Resource Materials Safety in the Shop Jack Barnett: The Stick-Handle Knife and the Boot Knife George Herron: The Folder and the Tapered-Tang Hunting Knife Lloyd Hale: The Bowie Knife Bill Moran: The Master of Damascus Knife Decor Sheath Making Knife Sharpening Knifemaking and Suppliers

Knifecraft is an excellent photo-essay offering detailed photographs and narrative on virtually every aspect of knife and sheathmaking.

82. MacYoung, Marc "Anima!." Fists, Wits, and a Wicked Right: Surviving on the Wild Side ofthe Street. Boulder, Co.: Paladin Press, 1991. **H, U** ISBN: 0-87364-611-8. Streetfighter Marc "Animal" MacYoung offers some very specific techniques to back up the philosophy he put forth in Cheap Shots, Ambushes, and Other Lessons. This book will stimulate the imagination of fight directors and instructors of unarmed stage combat while offering dozens of specific techniques. The text is 148 pages in length and includes 33 line drawn illustrations and diagrams. "Animal" offers his thoughts on blow genres, avoiding blows, and where to do the most damage when striking. Table of Contents: Introduction Chapter One: Blows Setups-Rattlers-Maimers-Nighty Nite Bunny Rabbits-Hand Positions-Striking Surfaces-Fist Positions- Punches (Leopard, Dragon, Hanging Punch, Palm Strike, Phoenix, Karate Chop)-Other Strikes (Elbow Shots, Knee Strikes) Chapter Two: Shedding Chapter Three: The Noggin Above the Ear-The Base of the Skull-The Face-The Schnozz-The Eyes-The Ears-The Jaw-The Mouth Chapter Four: The Throat and Neck The Throat-The Neck Chapter Five: The Body The Shoulders-The Chest and Back-The Balls Chapter Six: The Limbs The Arms-The Legs-Afterward Mr. MacYoung, using a fair amount of data on anatomy and physiology, lets the reader in on the best places to strike for effect, what that effect is, and what precipitates that effect. He offers several different vulnerable target areas, several types of punches, differing fist positions, and various joint locks. The

Books

121

fight director would need to be extremely careful about utilizing throat strikes and joint locks, especially onstage. Noncontact blows to the throat on film are more easily executed. Experienced fight directors working with experienced fighters might make use of these moves once they have been carefully adapted for use on the stage or screen. The reader should also be prepared for Mr. MacYoung's colorful street vocabulary.

83. MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. Boulder, Co.: Paladin Press, 1990. **H, S, B, I, D, V, M, R, T, E** ISBN: 0-87364-544-8. Here is still another offering by the prolific street-fighter cum author, Marc "Animal" MacYoung. In this publication he examines various knife fighting grips, stances, defenses, attacks, dirty-tricks, etc. This book goes much further into specific techniques than his earlier effort, Cheap Shots, Ambushes, and Other Lessons. This book will be very useful for fight directors and stage combat instructors involved in staging or teaching knife fighting for the stage and screen. It may also be of use for actors wishing to gain a better understanding of the psychology of the street fighter. The text is 117 pages in length, offering 55 black and white photographs, 3 pages of line drawn illustrations, no index, and no bibliography. Mr. MacYoung offers a very informative text on a very nasty subject. If one couples Knives, Knife Fighting and Other Related Hassles with Mr. MacYoung's instructional videos, Surviving A Street Knife Fight and Winning A Street Knife Fight, one has a fairly comprehensive introduction to this dangerous art form. Table of Contents: Chapter One: Knives and Related Hassles Chapter Two: Nuts and Bolts Chapter Three: Mental Homework Chapter Four: Mobility and Balance Chapter Five: Guard Chapter Six: Grip, Heft, and Balance Chapter Seven: Stance Chapter Eight: Quickdraw Chapter Nine: Draws Chapter Ten: Fighting Chapter Eleven: Combat Afterword Several of the techniques offered here could be utilized in several different historical periods. The fight director/instructor will readily gain a great deal of practical knowledge from Mr. MacYoung in terms of grips, draws, sheaths, targeting, etc.-great preparation for staging the knife fights in that next gang or prison film. As always, Paladin Press deals with the real thing: real knife fighting and real violence. The fight director will need to adjust nearly all of these techniques for use on the stage and screen.

122

Stage Combat Resource Materials

84. Manley, Albert. Complete Fencing. Garden City, New York: Doubleday and Company, 1979. **H, R, T, E** ISBN: 0-385-12075-3, LCCN is: 76-56319. Mr. Manley has authored a very comprehensive "How-To" manual on beginning and intermediate foil, epee, and sabre technique. The book will be of use to fight directors and stage combat instructors engaged in teaching theatrical fencing. The book is 305 pages in length, includes 120 black and white photographs, 15 line drawings, 4 diagrams, a glossary, a selected reading list, a list of equipment suppliers, and an index. Mr. Manley was Fencing Master at Reed College in Portland, Oregon and as of 1979 had been a coach for over 15 years. Complete Fencing, is one of the most comprehensive and up-to-date guides available on all three styles of modem fencing: foil, epee, and sabre. Manley discusses grips, stances, movements, and strategies necessary for competitive success at the beginning, intermediate, and advanced levels. Fight directors and stage combat instructors will appreciate the sheer number of techniques offered in his book. Table of Contents: Part One: Beginning and Ongoing 1. Generally Speaking 2. Training 3. The Fencing Club Part Two: Foil 4. Rules and Theory 5. Basic Sequence 6. Disengaging Sequence 7. Beating Sequence 8. Combinations and Continuations 9. The Left-Hander 10. Officiating 11. Teaching Foil Part Three: The Advanced Weapons 12. Training for Epee and Sabre 13. Epee Rules, Theory, and Officiating 14. Epee Attacking 15. Epee Counterattacking 16. Teaching Epee 17. Sabre Rules, Theory, and Officiating 18. Simple Attacking in Sabre 19. Parry-riposting in Sabre 20. Sabre Combinations 21. Teaching Sabre Appendices A. Selected Readings B. Equipment Suppliers

Books

123

C. Glossary Index Mr. Manley explores certain topics other fencing texts tend to avoid, such as facing the left-handed opponent. He also offers some interesting drills designed to increase centering and balance in legwork. He is also quite adept at presenting combinations for drilling parry/riposte, contra-parry/riposte, and lists of optional ripostes off of the appropriate parry. As tends to be the case with still photographs depicting stages of action, they often present some difficulty when connected to their verbal descriptions. Readers must "fill in the blanks," so to speak, as they go from photograph to photograph. As always, the techniques taught in this text must be adapted so as to be safely executed on the stage or in film.

85. Marshall, Henry. Stage Swordplay or "So you want to be Errol Flynn?" Tarrytown, New York: Marymount College, 1977. **H, D, V, M, R, T, E** No ISBN available. Distinguished fight director-instructor, Henry Marshall, offers a text on various styles of theatrical swordplay. This concise and informative publication is a superb resource for teachers, fight directors, and actor-combatants. Stage Swordplay is 98 pages in length, contains no illustrations, no index, and 1 diagram. This "How-To" manual is one of the few competent publications currently available on theatrical cut and thrust weapons and is primarily pedagogical in its approach. Marshall, formerly Master-AtArms to the Royal Academy of Dramatic Art, London, England, also taught a course in stage combat in London for Marymount College of Tarrytown, New York. The late Mr. Marshall is universally acknowledged as one of the true luminaries in his field. This small publication is dubbed "A Manual ofDramatic Armed Combat for Actors" by the author and is intended to supplement his stage combat courses. Mr. Marshall' s pedagogical style and some of his techniques may differ slightly from those of the Society of American Fight Directors, but it is certain that he is a master teacher and on sure ground.Table of Contents: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. II.

Footwork Small Sword-Basics Small Sword-Sequences and Fights Advanced Small-sword Sabre and Cutlass Rapier Broadsword Sword and Buckler Sword and Shield Quarterstaff Rapier and Dagger

124

Stage Combat Resource Materials

This small booklet would be an excellent addition to any fight director's library. Mr. Marshall does not use the standard competitive "lines," "attacks," and "parry numbers," but his book is still relatively easy to follow once the reader and becomes familiar with his system. He also offers the occasional routine (choreographed fight) in each of the various styles, so as to expose the student to drills which, if practiced diligently, can lead to proficiency. Mr. Marshall's philosophy includes introducing the student to point work before moving on to cutting techniques. Apparently Mr. Marshall feels that if the student acquires the control necessary to execute point work well, cutting should follow easily enough. It is therefore no great surprise when one discovers much of the early portion of his book dedicated to the small-sword and its intricate point oriented style. It is also worth noting that Mr. Marshall was mentor to current RADA Master-at-Arrns Richard Ryan who as served as Sword Master on such major motion pictures as Wolfgang Petersen's TROY (2004) and Doug Lefler's The Last Legion (2006).

86. Martinez, J. D. Combat Mime: A Non-Violent Approach to Stage Violence. Chicago: Nelson-Hall, Publishers, 1982. **U, H** ISBN: 0-88229-730-9 (cloth), 0-88229-809-7 (paper). This is a book that undoubtedly will continue to be a standard text in the field of unarmed combat for the stage. This "How-To" book will be of use to teachers, fight directors, directors, and actor-combatants. The text is 213 pages in length, includes 268 line drawings, 2 diagrams, and an index. Joseph Martinez is a professor at Washington and Lee University where he teaches both armed and unarmed combat for the stage. In 1995 he was honored with an invitation to present a demonstration of armed combat for the stage at the newly completed Globe Theatre in London. Martinez has been involved with the Society of American Fight Directors since its inception and is acknowledged by that organization as a "Fight Master Emeritus.". The SAFD's policy statement makes it clear that in that organization's estimation, safety and high aesthetic standards are of paramount importance when staging combat: The Society of American Fight Directors is the only national organization which has developed recognized standards for levels of skill in the combat arts...comrnitted to the highest standards of safety in the theatrical, film, and television industries. Combat Mime is steeped in SAFD philosophy. Martinez's book is also an excellent example of the "How-To" manual, as it presents no less than 88 unarmed stage combat techniques. It is imaginative, informative, easy to assimilate, and above all, eminently practical. Table of Contents:

Introduction 1. Preparatory Partner Games 2. Techniques and Illusions

Books 3. 4. 5.

125

Choreography Special Effects First Aid

Martinez begins with exercises designed to prepare the student for the physical and mental rigors of stage combat. Section Two: "Technique and Illustrations," is a gold mine of information for the student who is attempting to understand and execute unarmed combat. Martinez very carefully explains each of the 88 techniques covered in his text step-by-step. Caren Caraway supports his explanations with illustrations that are concise, complementary, and easy to follow. Techniques include: Rolling-Falling-Breakfalls-Scratching-SlappingPunching-Kicking-Kneeing-Stomping-ThrowingShoving-Pushing-Knee Attacks-Elbow Attacks Martinez also makes helpful hints in the areas of music, lighting, dramatic theory, sets, costumes, special effects, rehearsal process, and fight notation. Interestingly enough, Martinez himself is the first to counsel actors and directors not to utilize his text solely on its own, but as supplementation to instruction by a qualified instructor of stage combat. Martinez also offers an excellent book on staging the fights contained in Shakespeare's plays within the context of the weapons available during the Elizabethan period, The Swords of Shakespeare. In this second book, rather than concerning himself primarily with pedagogy, he concentrates more on performance and offers sample choreography for virtually every fight contained in Shakespeare's plays.

87. Martinez, J. D. The Swords of Shakespeare: An Illustrated Guide to Stage Combat Choreography in the Plays of Shakespeare. Jefferson, N.C.: McFarland and Company, Inc., Publishers, 1996. **H, B, V, D, M, R, T** ISBN: 0-89950-959-2. This anxiously awaited compliment to Combat Mime offers "sample" choreography to virtually every fight-scene appearing in the dramatic works of William Shakepeare. This "How-To" book will be of most use to fight directors, actors, and directors. The book is 280 pages (of doublecolumned text) in length, offers 473 line drawn figures in various positions of armed conflict, a glossary of terms, 2 appendices, a bibliogrpahy, and an index. Please see the above annotation of Combat Mime for additional information on Mr. Martinez. In his Introduction, Mr. Martinez states:

The Swords of Shakespeare is intended to be used as a guide for anyone interested in how the armed conflicts in the plays of Shakespeare are presented upon the stage. This book links the training of the ancient Masters of Defence with modem techniques used by professional combat choreographers... Sample choreography, fully illustrated, is offered as an example of what

126

Stage Combat Resource Materials can be done by actors and actresses who have been adequately trained by a Certified Teacher of Fighte Master of teh Society of American Fight Directors. (pp. 1-2)

Mr. Martinez has produced a fascinating book which is a facile blend of martial history, modem fencing technique, and stage fighting technique-all searnlessly blended into a cohesive whole via his dramatic imagination. He offers, quite literally, a hypothetical stage fight-completely choreographed on the page, including illustrations- for every fight found in Shakepeare's plays. He choreographs these fights making use of the weapons which would have been available to fight directors when Shakespeare penned his plays: Scottish basket-hilted broadsword-single-handed sword and shield-hand-and-a-half "bastard" sword-gauntlet "studded with spikes"-broadsword and dagger-quarterstaff-sword and buckler-rapier and poniard-rapier and lantern-single rapiertransition rapier-16th c. Single-edged broadsword-rapier and dagger-"bellow" or "cudgel"--single edged "hunting sword"knife This excellent resource for the fight director offers the following Table of Contents: Introduction Principles of Stage Fight Choreography (Ancient History vs. Modem Practice) Safety and Training A Brief History of Elizabethan Swordplay The Choreography: Henry IV, Part I Douglas vs. Blunt Douglas vs. King Henry Douglas vs. Prince Henry Hotspur vs. Prince Henry Henry IV, Part 2 Falstaffvs. Pistol Henry VI, Partl Charles vs. Joan De Pucelle Talbot vs. Joan De Pucelle Henry VI, Part 2 Homer vs. Peter Cade vs. Iden Clifford vs. York Richard vs. Somerset Henry VI, Part 3 Richard vs. Clifford Richard III

Books

127

Richard vs. Richmond Romeo and Juliet Benvolio vs. Tybalt Mercutio vs. Tybalt Romeo vs. Tybalt Paris vs. Romeo Hamlet Hamlet vs. Laertes Troilus and Cressida Ajax vs. Hector Troilus vs. Diomedes Toilus vs. Ajax and Diomedes Achilles vs. Hector Menelaus vs. Paris Othello Montano vs. Cassio King Lear Cornwall and Regan vs. Servant Kent vs. Edmund Oswald vs. Edgar Edgar vs. Edmund Macbeth Macbeth vs. Young Siward Macbeth vs. Macduff Coriolanus Coriolanus vs. Aufidius Cymbeline Cloten vs. Guiderius Jochimo vs. Posthumus The Two Noble Kinsmen Palamon vs. Arcite Glossary Appendix I: The Society of American Fight Directors Appendix II: Suppliers of Stage Weapons Bibliography Index In The Swords of Shakespeare, Mr. Martinez has supplied fight directors with valuable insight into the mind of an extremely proficient and talented fight choreographer-himself. He presents what he views as the most pertinent questions to be asked and answered when approaching a fight in Shakespeare's plays and then offers a series of hypothetical fights as examples of how one might approach staging such fights. Although this book qualifies as a "HowTo" book, one must not think that by reading such a book they become qualified to stage fights. In fact, Mr. Martinez offers the following caveate:

128

Stage Combat Resource Materials Despite the uncomplicated natuare of this choreography, it would be unwise for anyone to attempt to recreate these suggested stage fights without the guidance of a qualified SAFD Fight Master or Certified Teacher. Ther are many hidden dangers when learnign and performaing a stage fight. To ensure an adequate level of saftey for the performers, it is best to rely upon the experience of a professional. (28)

An excellent resource for the trained fight director or those looking to gain insight into the concerns of the fight director engaged in staging fights for Shakespearean productions within an Elizabethan context.

88. Martone, John. Handbook ofSelf-Defense. New York: Areo Publishing Company, Inc., 1955. **H, U** ISBN: 668-00744-3, LCCN: 55-6878. Mr. Martone offers this "How-To" manual designed for law enforcement officers. The book will definitely be of use to fight directors staging unarmed combat and instructors of stage combat teaching the same. The text is 111 pages in length, includes 115 black and white photographs of techniques in various stages of execution, and a list of 24 "Precautions to Exercise" conceived with law enforcement officers in mind. Here are dozens of tested techniques used in unarmed defense by various law enforcement agencies around the country. Mr. Martone covers restraining holds, the uses and abuses of the police club, punches, blocks, and conditioning exercises as well. Mr. Martone has been Director of Physical Training for the United States Secret Service and Training Instructor for the U.S. Army Counter Intelligence Corps. His style is somewhat terse yet very accessible. Table of Contents: Chapter I: Physical Conditioning Chapter II: Unarmed Defense Chapter III: Offensive Procedures Chapter IV: Defensive Procedures Chapter V: Pistol Disarming Chapter VI: Defense Against Knife, Blackjack, Sharp Instruments Chapter VII: Preliminary Search of Prisoners Chapter VIII: Securing of Prisoners Chapter IX: Police Club (Its Uses and Abuses) PRECAUTIONS TO EXERCISE Fight directors looking for techniques for the stage and screen frequently bemoan the fact that most publications tend to lean toward Asian martial arts techniques. Handbook of Self-Defense, most decidedly, smacks of America. Even the standard karate "chop" is anglicized and referred to as the "hatchet blow." The book offers such techniques as arm locks, wrist locks, hatchet blows, chokes, evasions, defense against kicks, defense against revolvers,

Books

129

defense against knife attacks (downward stroke, upward thrust, and a defense from the ground), defense against club attacks, and club blows.

89. May, Robin and G. A. Embleton. The British Army in North America. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1974. **E** ISBN: 0-85045-195-7. Robin May supplies the text while G. A. Embleton offers the color illustrations for this introduction to the British Army and its conflict with the North American Colonies in their struggle for independence. This book will be of most use to fight directors, directors, drarnaturgs, actors, costumers, and weaponsmakers. The text is 40 pages in length, offers 30 black and white illustrations, and 8 color plates (illustrations). An excellent introduction to the British forces on the North American continent involved in fighting American Colonial forces. List of section titles: Introduction Raising an Army Location of the Army in 1775-Recruiting-The Prices of Commissions in 1776 The Redcoat's War A Diary of the American Revolution The Regiments Which Served Some Food Facts-Army Administration The Royal Warrant of 1768 for Infantry Clothing, Colours & c. Colours-Drums-Bells of Arms-Camp Colours-Uniform of OfficersEpaulettes-Waistcoats-Swords and Sword and Sword-Knots-HatsSashes and Gorgets-Caps, Fuzils, and Pouches, for Grenadier OfficersEspontoons-Gaiters-Sergeants' Coats-Sergeant's Sashes-Corporal's Coats-Grenadiers Coats-Private Men's Coats-Lappels, Sleeves, and Pockets-Shoulder Belts and Waist Belts-Drummers' and Fifers' CoatsDrummers' and Fifers' Caps-Grenadiers' Caps-Hats of the Whole-Caps for the Officers and Men of Regiments ofFuzileers-Swords-GaitersPioneers The Plates (illustrations) Mr. Embleton's plates offer the fight director, costumer, and weaponsmaker detailed color illustrations of everal different "Redcoat" divisions involved in the American war for independence. There are several black and white photographs of soldiers in uniform (period artwork), a sword hilt, and several hats of the period. May and Embleton have also produced an additional Osprey entry, Wolfe's Army, which examines the army of General James Wolfe during the French and Indian War.

130

Stage Combat Resource Materials

90. Mayes, Jim. How To Make Your Own Knives. New York: Everest House Publishers, 1978. **H, S, B, I, D, V, M, R, T, E** ISBN: 0-89696-146-X, LCCN: 78-57407. Mr. Mayes offers a very accessible and easy to follow book on knife-making. The book will be of most use to weaponsrnakers involved in the production of knives and daggers for the stage and screen. The text is 191 pages in length, offers 140 black and white photographs, 37 line drawn illustrations, and 3 appendices. The dozens of photographs break down the steps which Mr. Mayes describes. Table of Contents: Foreword Chapter 1. A Brief History of Knives and Knife-Making Chapter 2. Knife Nomenclature: What to Call That Thingamabob Chapter 3. Understanding Metallurgy: The Steel-Maker's Art Chapter 4. Setting Up Your Workbench Chapter 5. Getting Started: Where There's a Will, There's a Knife Chapter 6. Blade Design: Sizes, Shapes, and Grinds Chapter 7. The Blade: Getting What You Want in a Handmade Knife Chapter 8. Heat Treatment: Giving Your Blade Its Character Chapter 9. The Tang: Its Purpose and Design Chapter 10. Hilts and Pommels: How to Make Them Chapter 11. The Handle: An Expression of Your Individuality Chapter 12. Epoxy and How to Use It Chapter 13. Using Pins and Cutler's Rivets Chapter 14. Finishing Your Knife: Sanding, Buffing, and Polishing Chapter 15. The Sheath: How to Design and Make It Chapter 16. Knife Care: Honing and Other Thoughts Appendix: Glossary of Knife-Making Terms Where to Order What You Need Knife-Making Supplies and Services How To Make Your Own Knives is fairly comprehensive in its scope. There are no fancy innovations or technical break-throughs offered here, simply tried and true techniques which work.

91. McCallum, Paul. A Practical Self-Defense Guide for Women. Whitehall, Virginia: Betterway Publications, Inc.,1991. **H, U** ISBN: 1-55870-203-2. Mr. McCallum offers a compilation of various selfdefense techniques developed with women in mind. The book will be useful to the fight director and instructor of unarmed stage combat qualified to adjust the moves offered in the book so as to be suitable for use on the stage and screen. There are some very interesting "specialty moves" offered in this pictorial "How-To" manual. The book is 200 pages in length, offers 89 black and white

Books

131

photographs of techniques executed by models, and an index. According to the back cover, Mr. McCallum is the holder of a black belt in Karate and has been a martial arts instructor for years. Some of the techniques in the book are vicious in appearance. Many of the photographs depict breaking legs, breaking knees, punching, kicking, grabbing the groin, karate chopping to the throat, elbowing to the face and solar plexus, turning an attacker's knife on himself, stabbing an attacker in the stomach, slashing the attacker's face with a hidden knife, using an umbrella to stab to the throat, and many other equally useful techniques designed to deter or immobilize an attacker. Table of Contents: Chapter 1. Learning Self-Defense Chapter 2. Tactics Chapter 3. Stretching Chapter 4. Basic Kicks Chapter 5. Basic Hand Moves Chapter 6. In the Street Chapter 7. When Someone Grabs You Chapter 8. In Close Quarters Chapter 9. Sitting Down Chapter 10. Against a Weapon Chapter 11. Using Weapons Chapter 12. Guns Chapter 13 . Advanced Techniques Chapter 14. The Aftermath Chapter 15 . How to Pick a Martial Arts School There is little doubt that many of the techniques offered in this book are karate related. However, they are presented in a format that smacks more of the streets of America than the dojo. The reader virtually never sees a model in a ghee. Frequently they are dressed in street clothes and pictured in an appropriately "street-like" environment. Instructors will appreciate the detailed portion of the book dedicated to stretching and warming up. Choreographers will appreciate some of the more unique techniques and combinations offered, including a section on how to deal with multiple simultaneous attackers. This book is relatively new (1991) and appears to have been significantly influenced by the wave of violence that is currently plaguing our society. It meets violence head on. There is no mercy shown to the "bad guys" in this book. If the choreographer is looking for some brutal and, in some cases, lethal self-defense techniques, this is an excellent resource . As always, the techniques offered in the publication must be carefully altered for use on the stage.

92. Mclan, R. R. and James Logan. The Clans of the Scottish Highlands. New York: Alfred A. Knopf, 1980. **D, V, M, R, T, E** No ISBN available. McIan and Logan offer a handsome book which will undoubtedly be a great resource for costume designers. The book is actually

132

Stage Combat Resource Materials

subtitled "The Costumes of the Clans." However, Mr. McIan, in rendering the clothing of the 74 traceable Scottish clans, has frequently chosen to depict them in the heat of battle (e.g., the various Jacobite rebellions), hunting, or other martial activities. In its 206 pages it offers 74 color illustrated plates of figures (male and female) dressed in traditional Scottish kilts and plaids. The inside cover offers a map of Scotland with clan names printed in the regions where the clan originates. There are also two color illustrated plates of various armorial bearings of the clans. Mclan's renderings are similar in detail to those offered in the Osprey Men-at-Arms Series. The emphasis is on the costume, but several arms and weapons find their way into the illustrations. Each illustrated plate is accompanied by text offered by James Logan, author of Scottish Gael and Celtic Manners. Each of Logan's essays examines the origin of the clan's name, major figures in the clan's history, and occasionally, a significant battle or confrontation which involved members of that clan. The Table of Contents lists too many clan names (and derivatives) to list here. A sampling of Clan names: Buchanan-Cameron-Cumin-Drummond-Ferguson-FraserGordon-Kennedy-Mac Arthur-Mac Bean-Mac Duff-Mac Leod-Mac Millan-Mac Pherson-Mac Rae-Murray-RobertsonRoss-Sinclair-Stewart-Sutherland-Urquhart The book is published in an over-sized format with large illustrations.

93. Miller, Douglas and G. A. Embleton. The Landsknechts. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1976. **R** ISBN: 0-85405-258-9. Mr. Miller pens the text and Mr. Embleton furnishes the color illustrations for this introduction to the mercenary forces of Germany known as the "Landsknechts." This book will be of most use to fight directors, directors, dramaturgs, actors, costumers, armorers, and weaponsmakers. The text is 40 pages in length, offers 33 black and white illustrations, 2 maps, 8 color plates (illustrations), and a bibliography. Mr. Miller begins the book with a discussion of Maximilian I and his need to raise forces to uphold his claim to the Burgundian legacy of the Netherlands, and for controlling his future territories to the east. Maximilian modeled his soldiers after the Swiss and is often thought of as the father of the Landsknechts. List of section titles: Introduction Organisation Tactics and Formation Weapons Artillery and Equipment The Battle of Ravenna Creazzo and Novara-Marignano--Bicocca and Pavia-Italian Campaigns 1526-29-Campaigns of 1536-54-Conclusion The Plates (illustrations)

Books

133

Mr. Embleton's color illustrations will be a great source of inspiration to costumers, armorers, weaponsmakers, and fight directors. Included in these plates are renderings of an Imperial herald, Georg von Frundsberg, Goetz von Berlichingen, the Emperor Maximilian I, a Landsknecht captain, a standard bearer, an arquebusier, a pikeman, a Locotenent (c. 1545), a drummer, a doppelsoldner of the Black Legion, and various company banners and flags. There are numerous detailed sketches of battle scenes depicting the German Landsknechts in action with halberd and pike. Miller and Embleton have also produced an additional Men-at-Arms entry entitled The Swiss at War 13001500.

94. Morseberger, Robert. Swordplay and the Elizabethan and Jacobean Stage. Salzburg, Austria: Institut Fur Englische Sprache Und Literatur, Universitat Salzburg, 1974. **R, T** No ISBN available. Mr. Morseberger offers what appears to be a revised version of his doctoral dissertation examining swordplay during the age of Elizabeth I and James I of England and its importance on and off the stage of that period. Swordplay and the Elizabethan and Jacobean Stage is an excellent resource for the fight director, director, actor-combatant, and dramaturg. The language Morseberger uses in his publication is very accessible. The book is 129 pages in length and offers a substantial bibliography of books, serials, pamphlets, and newspaper articles. Mr. Morseberger makes a thorough examination of personal combat during Shakespeare's day. He places special emphasis on the famous controversy between the indigenous cut and thrust style versus the new thrusting techniques advocated by Italian masters (such as Bonnetti, Saviolo, and Jeronimo) who had recently set up shop in London. He then examines how personal combat was portrayed on the stage at that time. In support of his assertion that Shakespeare's audience would have been accustomed to a high degree of artistry and realism in their stage fights, Mr. Morseberger delves into the violence of the age and how it necessitated the carrying of weapons. He also turns to numerous references to fencing in the plays of Shakespeare, Beaumont and Fletcher, Ben Johnson, John Webster, and others. Table of Contents: Chapter I: Of the Background and Development of the Use of Arms Chapter II: Of the Opposition to the New Schools of Fence and Satires upon Them Chapter III: Of Duelling and Honorable Quarrels Chapter IV: Of Fencing Matches in the Theatres Chapter V: Of the Swordplay of Actors and of Techniques of Elizabethan Fence Chapter VI: Of the Performance of Stage Fights Chapter VII: Of the Duel in Hamlet Chapter VIII: Of the Importance of Swordplay in Plot and Characterization Chapter IX: Of Opposition and Reaction to Swordplay

134

Stage Combat Resource Materials

This is an excellent resource for anyone interested in pursuing the styles of swordplay in vogue during Shakespeare's day; the level of the knowledge of Shakespeare's audience regarding stage swordplay; how the authorities felt about dueling-both in England and France-; how the "honorable quarrel" and the Italian "Code Duello" made its way onto the English stage and how it was presented, both seriously and in parody; how swordplay was presented on the Elizabethan/Jacobean stage; and how swordplay was used as a legitimate device for furthering character and plot in the drama of the age. Mr. Morseberger offers an excellent examination of the fencing contest in Hamlet and how it has been staged by various actors and directors through the centuries. Several of these accounts are also found in Sprague's Shakespeare and the Actors (1944). Included in his discussion of this critical scene is an examination of costuming, stage directions in the various folios and quartos of the play, the choice of weapons, the all important "exchanging of the weapons," Hamlet's wounding, and Claudius's death at Hamlet's hand. The scholarly nature of this publication is never in doubt but the tone and style are very accessible, and there is a great deal of useful information.

95. Neumann, George C. Swords and Blades of the American Revolution. Texarkana, Texas.: Rebel Publishing Company, 1991. **E**

ISBN: 0-9605666-9-4 (hardcover); 1-880655-00-4 (softbound), LCCN: 91066957. Mr. Neumann and illustrator, George C. Woodbridge, have produced a comprehensive illustrated examination of cut and thrust weapons in use during the American Revolution. The book will be of significant use to weaponsmakers researching cut and thrust weapons of the Revolutionary period in an effort to reproduce weapons for the stage and screen. Fight directors, costumers, directors, and dramaturgs will also find useful information, though not in the same depth. The text is 288 pages in length, offers 1,680 black and white photographs of various cut and thrust weapons, 51 line drawn illustrations of soldiers, weapons, and uniform accoutrements, an index, and a bibliography. The centerpiece of this book is the nearly seventeen hundred photographs of hundreds of rapiers, small-sword, hangers, bayonets, sabres, spadroons, spontoons, halberds, pikes, daggers, knives, hatchets, and tomahawks. Table of Contents: Chapter 1: Blades in the Early Colonies Contemporary European Tactics (1600-1700) Colonial Warfare Colonial Bladed Weapons (1607-1700) Chapter 2: Cold Steel on the Battlefield Linear Warfare ...Finally at Valley Forge Weapon Importance Chapter 3: Lines of Bayonets-The Ultimate Weapon!

Books

135

Muskets Become Pikes The Socket Bayonet Emerges Delayed Acceptance in America American Bayonet Procurement Bayonet Identification English-French-German-Dutch-American-"Types'" of Bayonets Chapter 4: The Flashing Sword: Draw Me Not Without Reason Sheath Me Not Without Honor! American Sword Sources-World-Wide Blade Production-Making the Sword-Extensive Sword Variety-Basic Sword Patterns-The Military Hanger-Hunting Swords and Cuttoes-Short Sabres and SpadroonsSmall Swords-Basket-Hilted Swords-Horseman Swords-Naval Cutlasses Chapter 5: Stately Polearms, A Lingering of Prior Centuries The Halberd (Halbert)-The Spontoon (Espontoon)- The Pike (Spear, French Spear, Boarding Pike)-The Linstock Chapter 6: Knives and Daggers: Carve, Skin, Stab, and Scalp Three Basic Knife Categories-Early Atlantic Colonies 1607-1700-The American Colonies 1700-1783-The Belt Knife- The Dagger-The Scottish Dirk-Pocket Knives Chapter 7: The Belt and Camp Axe: To Clear the Land and Defend It! Definitions-Sources of Manufacture-Methods of Manufacture- Axe Development in America- The Axe in the American Revolution-Principal Axe Patterns-Round Poll-Square Poll or American Axe-Pipe Tomahawk-Spiked Axe-Hammer Poll Axe-The Halberd (battle axe) Glossary of Terms Nomenclature Summary Fight directors will not find a great deal of detail on how the various weapons were used. It is the weaponsmaker who will most benefit from the hundreds of photographs of various swords of the period. Many of the weapons pictured and discussed go back to the seventeenth century. Costume designers will undoubtedly enjoy his illustrations (all in black and white) for their presentation of various sword carriers, frogs,cut and thrust weapons, and soldiers/militiamen of the period.

96. Newark, Tim. The Barbarians. New York: The Blandford Press, 1985. **1, D, V, M** ISBN: 0-7137-2042-5. Tim Newark supplies the text and Angus McBride the color illustrations for this book that examines the various barbarian tribes of Europe's Dark and early Middle Ages. The book will be of aid to fight directors, directors, dramaturgs, actors, and costume designers. Armorers and weaponsmakers will also find the illustrations and photographs of swords, shields, spears, and early armor useful. The text is 144 pages in length, includes 16 color illustrations by McBride, 67 black and white photographs (sculptures,

136

Stage Combat Resource Materials

weapons, and nineteenth century drawings and paintings), a bibliography, and an index. The Barbarians has the look and feel of the Osprey Men-At-Arms series. This is hardly surprising, as illustrator Angus McBride has contributed significantly to that series of books. Newark's text is accessible and tends to dwell on various campaigns and battles waged by or on the various barbarian tribes of the late Roman Empire, the Dark Ages, and the early Middle Ages. Angus McBride offers sixteen color plates in the center of the text. Table of Contents: 1. 2. 3. 4. 5. 6. 7.

The Most Terrible of All (The Huns and Eastern Germans: The Fourth to Fifth Centuries) Fear in the Forest (The Western Germans: The First to Fourth Centuries) Business as Usual (The Visigoths and Vandals: The Fifth Century) The Empire Fights Back (The Ostrogoths and Franks: The Sixth Century) The Force of God (The Moors and Arabs: The Seventh and Eighth Centuries) The Wolves of Wodan (The Danes and Swedes: The Ninth and Tenth Centuries) The Relentless Plainsmen (The Avars, Magyars, and Mongols: The Sixth to Thirteenth Centuries)

Mr. Newark offers a close examination of the various barbarian tribes of the Dark Ages in Western Europe, Eastern Europe, Scandinavia, the Iberian peninsula, and Asia Minor. There is also useful information presented on the Moors and Arabs, and their campaigns into Eastern and Southern Europe. McBride's illustrations of warriors in action are a great supplement to Newark's descriptions of various major and minor engagements from the period. Newark is also the author of Celtic Warriors 400 B.C.-1600 A.D. and Medieval Warlords.

97. Nicolle, David and G. A. Embleton. Italian Medieval Armies. Men-atArms Series. London: Osprey Publishing, Ltd., 1983. **M** ISBN: 0-85045-477-8. Dr. Nicolle writes the text and Mr. Embleton offers the color illustrations in this book on Italian Medieval military forces, both state organized and the mercenary forces of the condottieri. The book will be of most use to fight directors, directors, dramaturgs, costumers, actors, armorers, and weaponsmakers. The text is 40 pages in length, offers 22 black and white photographs, 7 line drawn illustrations, 4 maps, and 8 color plates (illustrations). Mercenaries were a common feature throughout most of Europe during the fourteenth and fifteenth centuries. Nowhere did such a sophisticated system of hiring, payment, and organization of mercenaries develop as it did in Italy. Here is the age of Machiavelli and all of the petty intrigues and politics which gave

Books

137

Shakespeare so much grist for his mill. It is also the age in which national, or state run, armies began to be organized. List of section titles: Introduction Medieval Mercenaries The Companies-English Adventurers The Great Captains Sforzeschi and Bracceschi State Armies Cavalry and Infantry in a Renaissance Army Good War-Bad War Campaigns Lucca (1329-30)-Parabiago (1340)-Castagnaro (1387)-Alessandria (1391)-S. Egideo (1416)-Maclodio (1427)-S. Romano (1432)Fornovo (1495) The Plates (illustrations) Mr. Embleton's color illustrations of various Italian knights and men-at-arms exhibit a great deal of detail useful to fight directors, costumers, armorers, and weaponsmakers and effectively complement the text provided by Dr. Nicolle. There are a few photographs of extant suits of armor and helmets (hounskull), but the weaponsmaker will not fare as well as the armorer as there are no photographs of extant weapons.

98. Nicolle, David and Angus McBride. The Age of Charlemagne. Men-alArms Series. London: Osprey Publishing, Ltd., 1984. **D, M** ISBN: 0-85045-042-X. Dr. Nicolle pens the text and Mr. McBride offers the color illustrations in this introduction to the armies and exploits of Charlemagne. This book will be most useful to fight directors, directors, dramaturgs, actors, costumers, armorers, and weaponsmakers. The text is 40 pages in length, includes 15 black and white photographs, 12 line drawn illustrations, 2 maps, 2 diagrams, and 8 color plates (illustrations). Dr. Nicolle begins his narrative by tracing the emergence of Charlemagne and his progeny. He then goes on to discuss the Carolingian army, its training, its equipment, and its influence in the establishing offeudalism in Western Europe. List of section titles: Introduction The Carolingian Dynasty The Carolingian Army 750-850 A.D. The Franks-Equipment, Training and Morale-Offensive Strategy and Frontier Defence-Allies and Subordinate Peoples The Failure of the Carolingian System 850-950 A.D. The Revival of Europe 950-1000 A.D. Arms, Armour and Fortification 950-1000 A.D. The Plates (illustrations)

138

Stage Combat Resource Materials

Further Reading Included are illustrations depicting various Gascon cavalrymen, Austrasian mounted infantrymen, Lombard "Gasindius" cavalrymen, Carolingian heavy cavalrymen, Armoican cavalrymen, Frankish infantrymen, Avar Horsemen, Western Slav tribesmen, Saxon infantry, French cavalry, various Carolingian noblemen, Italian infantry, North African infantry, German infantry and cavalrymen, and Magyar cavalrymen. These illustrations are all accompanied by descriptive passages which offer insight into the costuming, armor, weapons, and fighting tactics utilized. David Nicolle and Angus McBride have also joined forces to produce several additional Osprey Men-at-Arms titles such as Arthur and the Anglo-Saxon Wars, El Cid and the Reconquista, Hungary and the Fall ofEastern Europe 1000-1568, The Normans, Saladin and the Saracens, and French Medieval Armies.

99. Nicolle, David and Angus McBride. Rome's Enemies (4): The Desert Frontier. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1991. **1** ISBN: 1-85532-166-1. Dr. Nicolle provides the written narrative and Mr. McBride provides the color illustrations in this Men-at-Arms Series entry on the various armies Rome faced in North Africa and the Middle East. For a more comprehensive list of David Nicolle and Angus McBride's Osprey publications the reader should refer to the annotation on The Age of Charlemagne. This book will be of most use to fight directors, directors, drarnaturgs, costumers, actors, armorers, and weaponsrnakers. The text is 48 pages in length, offers 37 black and white illustrations, 4 line drawn illustrations, 2 maps, 8 color plates (illustrations), and a list for further reading. Dr. Nicolle examines the various Desert armies which troubled the Eastern and Western Roman Empire beginning in the third century A.D. List of section titles: The Desert Frontier Chronology North Africa Southern Arabia Central Arabia Central Arabian Armies Syria Armies of the Syrian Frontier Mesopotamia Armies of the Mesopotamian Frontier Further Reading The Plates (illustrations) Included in these plates are a Numidian prince, a Berber horseman, a Garamante warrior, several Meroitic warriors, a Blemmye warrior, various Judaean and

Books

139

Arabian warriors, Queen Zenobia of Palmyrene and a Palmyrene guardsman, various Arabian and Ethiopian warriors, a Clibanarius from Ahwaz, a Tanukhid auxiliary, and a Lakhrnid elite cavalryman. Most of the photographs tend to be of statuettes, wall reliefs, and mosaics from the period.

100. Norman, A. V. B. A History of War and Weapons, 449-1660: English Warfare from the Anglo-Saxons to Cromwell. New York: Thomas Y. Crowell Company, 1966. **B, I, D, V, M, R, T** LCCN: 66-22527. A History of War and Weapons, 449-1660 focuses on English warfare in the Dark and Middle Ages. The book will be of most use to directors, fight directors, and dramaturgs. The book is 224 pages long and includes 224 drawings, 20 diagrams, an index, and an appendix: "The Making of An Armor." A. V. B. Norman was, at the time of printing, assistant to the Director of the Wallace Collection of arms and armor in London. Along with A History of War and Weapons, 449-1660, he has also produced a sibling publication, Arms and Armour. Don Pottinger, the illustrator, at the time of printing had collaborated on and illustrated five major historical publications. At first glance, A History of War and Weapons appears to be a survey of limited substance. This book is of value to theatre dramaturgs, historians, and practitioners. Still, others will undoubtedly find the use of the symbols in the margins quite useful. They allow one to scan quickly for whatever information is needed in the various areas that serve as the structural framework for the book. The book begins with the Saxon invasion of England and ends with the Restoration of Charles II. In the intervening years there were many famous English battles that are narrated in a brisk yet informative fashion. Those interested in the various battles that transpire in Shakespeare's history plays may find this portion of the survey of interest. Table of Contents: Chapter 1: The Invaders (Saxons and Normans; the Battle of Hastings) Chapter 2: Chivalry Chapter 3: The Twelfth Century Chapter 4: The Thirteenth Century Chapter 5: The Fourteenth Century Chapter 6: The Fifteenth Century Chapter 7: The First Half of the Sixteenth Century Chapter 8: The Second Half of the Sixteenth Century Chapter 9: Seventeenth Century Up to 1660 Each chapter deals effectively with how soldiers were drafted, trained, paid, and armed. Also explored are how they fought, stormed castles, and how those castles were built and destroyed. Dozens of arms and harnesses or armor are drawn in detail, with various parts labeled clearly for examination. There is also the occasional drawing depicting a soldier in armor with weapon in the heat of battle.

140

Stage Combat Resource Materials

101. Norman, A. V. B. The Rapier and Small Sword, 1460-1820. New York: Arno Press, 1980. **R, T, E** ISBN: 0-405-13089-9, LCCN: 80-7674. The swordmaker will find this text a wealth of information for the construction and detailing of rapiers and smallswords. The director, actor, fight director and dramaturg will also find the discussion of the weapon's place in society of interest. This is an exhaustive study that is meticulous in its scholarship. The text is 464 pages long and includes 2 color plates (one of rapiers and the other of small-swords), 33 black and white photographs of 158 sword hilts, 7 indices, varied appendices, and a select bibliography. Mr. Norman draws liberally from such primary sources as George Silver and other masters of the Renaissance and succeeding generations of the sword. This publication is considered by many to be the definitive study of the rapier and small-sword from the rapier's birth in the fifteenth century, through its transition into the deadly small-sword of the eighteenth century. The text actually follows the small-sword until 1820, at which point the small-sword essentially became the "court sword", more a decorative piece of jewelry to be worn at court, official functions of state, and on grand occasions. The text is offered in six parts: Part 1: Introduction Part 2: Hilts, Inner Guards and Pommels Part 3: Daggers Part 4: Accessories Part 5: Designers and Makers Part 6: Decoration Each Part contains its own detailing, such as: Terminology of the Hilt-The Carrying of the Sword in Civilian Dress-Hilts-Inner Guards-Pommels-Sword BeltsScabbards and Sheaths-Damascening-The Decoration of Smallswords-and many more topics. Mr. Norman frequently turns to paintings of the period to date hilts and just as frequently readers will find themselves wading through references to paintings, painters, museums, and catalogue numbers. All of this makes it clear that Mr. Norman's scholarship is impeccable; however, it rarely makes for compelling reading. The bulk of the text is devoted to typology (the typing of hundreds of hilts, guards, and pommels). He types no less than 113 different hilts, each type sketched out in a basic line drawing and assigned a number. Information included covers such minutiae as when the hilt was popular, if it appears in paintings of the period, and if the hilt type is extant. Most of the information is geared to the collector and connoisseur and will be of less interest to the theatre artist, except for the swordmaker. Mr. Norman, in association with G. M. Wilson, has also produced Treasures from the Tower of London. This

Books

141

impressively illustrated publication examines the history of the Armouries of London and the arms and armor contained therein.

102. North, Anthony. European Swords. Stationary Office, 1982. **R, T, E**

London: Her Majesty's

ISBN: 0-11-290378-9. This small book is an excellent resource for the swordmaker, albeit the detail on these weapons is far beyond that which would be required for stage work. The publication is 48 pages in length and includes 30 color photographs, 17 black and white photographs, and a further reading bibliography. Films, due to the demands of the "close-up," frequently require the sort of artistry and detail that appear on many of these weapons. Some of the weapons which appear include: Basket-hilts Hunting swords Hangers Rapiers The jewel-like quality of the small-swords takes the breath away. Anthony North is Research Assistant, Department of Metalwork, Victoria and Albert Museum. After a cursory discussion dealing with the medieval sword, he moves on to the central focus of his book, the European rapier and small-sword. North's text is brief and informative, but it is the photographs that are of most value in this publication.

103. Oakeshott, R. Ewart. European Weapons and Armour. Hollywood, Ca.: Beinfeld Publishing, Inc., 1980. **V, M, R, T, E**

North

ISBN: 0-917714-27-x. R. Ewart Oakeshott offers a survey of European weapons from the medieval and Renaissance periods. This publication is an excellent source for photographs and drawings of weapons that are postRenaissance to the end of the eighteenth century. Oakeshott's commentary will allow designers and directors to carefully choose their weaponry and know that they are being historically accurate. The various photographs (over 100), will be of aid to armorers and weaponsmakers. There is not a great deal here to assist the choreographer or actor-combatant. The text is 288 pages in length, includes a bibliography, an index, a time chart, 104 black and white photographs, 114 line drawings, and 2 appendices. The chapter on staff-weapons does discuss some of the tactics used in prominent battles of the period. This leads to a cursory understanding of how halberds, pikes, and bills were actually used in the heat of battle. However, the rest of the book is confined to a more basic description of how the various weapons were utilized. Mr. Oakeshott, with this publication, picks up where his previous study, The Archaeology of Weapons, left off covering the end of the fifteenth century through the end of the

142

Stage Combat Resource Materials

eighteenth. This is a monumental effort, and one that has been labored over with intelligence, style, imagination, and a sense of humor. Table of Contents: Introduction Chapter One: The Developing Power of the Handgun Chapter Two: Staff Weapons Chapter Three: Mace, War-Hammer and Horseman's Axe Chapter Four: Armour 1400-1525 Chapter Five: Helmets: 1400-1525 Chapter Six: Sword of the Sixteenth Century Chapter Seven: The Two-Handed Sword Chapter Eight: The Curved and Single Edged Swords of the Sixteenth Century Chapter Nine: Sword and Rapier in the Seventeenth Century Chapter Ten: The Military Sword of the Seventeenth Century Chapter Eleven: Armour in Decline Chapter Twelve: Helmets in the Sixteenth and Seventeenth Century Chapter Thirteen: The Dagger: 1500-1650 Chapter Fourteen: The Small-sword Conclusion Appendix One: Tournament Armour Appendix Two: American Swords in the Nineteenth Century A "Time Chart" compares yearly dates with related heads of state, important persons of the day, artists, craftsmen of arms and armour, writers, and musicians. Directors and designers will find this chart a valuable quick reference tool in aiding their research in music, fashion, art, architecture, etc. The detailed line drawn illustrations help to clarify the evolution of a hilt, or poleann, etc. In some cases, the illustrations have a way of focusing on the essentials for comparison whereas a photograph might include details which could distract the eye from the true point of contrast. Of special interest is Chapter Nine: "Sword and Rapier in the Seventeenth Century." In this chapter the evolution of the Swept-hilt rapier, problems of dating hilt types, shell guards, the Pappenheimer hilt, the Loop-hilt, the English hilt, the Dish-hilt rapier or Flamberge, the Cavalier hilt, the Spanish Cup hilt, and the Bilbo hilt are discussed, compared, and contrasted. Perhaps, nowhere else in this book are Oakeshott's sharp eye and incisive descriptions appreciated so much as in this period where so many rapier styles evolved simultaneously (and contiguously). As one region borrowed unabashedly from another, a sense of nationalism became increasingly difficult to determine. Mr. Oakeshott effortlessly guides the reader through the several styles, where they originated, inclusive dates, and major influences on the development of the style. Mr. Oakeshott is a prolific author who has produced such additional titles as A Knight and his Armor, The Archaeology a/Weapons, and The Sword in the Age a/Chivalry.

Books

143

104. Oxenstierna, Count Eric. The Norsemen. Translated Catherine Hutter. Greenwich, Conn.:New York Graphic Society Publishers, Ltd., 1959. **D, V, M** LCCN: 65-16464. Count Oxenstierna offers a comprehensive look at what he considers to be the much maligned Viking. The book is heavy on historical narrative and will, therefore, probably be of most use to the dramaturg and director. However, there are several brief accounts of Viking raids and armed encounters. Fight directors will find these sections, especially concentrated in chapters three and four (First Raids, First Settlements and The Roving Vikings, respectively) of some interest for their descriptions of the Vikings in battle. The text is 320 pages in length, includes 152 black and white photographs, a bibliography, and an index. Count Oxenstierna maintains that a predominantly occidental point of view regarding the Viking has led to a diminished appreciation of their accomplishments which he attempts to set right with his publication. Count Oxenstierna is very fastidious in his offering of what was, at the time, the most current archaeological information available (circa 1959) on Viking culture. Table of Contents: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11 . 12. 13. 14.

The Vikings-Heroes or Raiders? Barter and Trade First Raids-First Settlements (A.D. 793-830) The Roving Vikings (A.D. 830-850) Was Russia Founded by the Swedes? What the Vikings Brought Home from the Orient We Know No Master-All of Us are Equal The King Ships "And the Men Spoke of How Commanding the Woman Was." The Festivals of the Vikings Written History Begins The Discovery of America From Vinland to Baghdad The Viking Heritage

Pictures are offered of gold and silver rings, broaches, spear heads, swords, recovered dragon ships, prow heads (dragon heads), jewelry, furniture, eating utensils, rune stones, and dozens of other artifacts. The pictures offered of swords and spears are of weapons greatly distressed due to the ravages of time and are, therefore, of marginal use. An in depth examination (very sympathetic) of the raiders who were the terror of Britain and France.

105. Palfy-Alpar, Julius. Sword and Masque. Philadelphia: F. A. Davis Co., 1967. **H, D, V, M, R, T, E, U** LCCN: 67-19032. This book will be of most use to the teacher of stage combat and the fight director. The text is 248 pages in length and includes 57 black and

144

Stage Combat Resource Materials

white photographs, 16 diagrams, a bibliography, index, and appendices. Maistro Palfy-Alpar offers a very eclectic work moving from the origins of the duel to detailed descriptions of competitive fencing techniques to theatrical swordplay. Palfy-Alpar is a former competitive fencer and coach who has gravitated toward the theatre. Descriptions of weapons, manners, fencing terminology, movement, fencing psychology, training, and theatrical fencing are included in this wideranging text. Where Palfy-Alpar's book excels is in its descriptions, illustrations, and exercises for the competitive fencer. The number of blade and movement techniques covered is quite impressive. Included are several drilling exercises designed for the instructor to implement in the class/salle. These exercises could be very helpful to the theatrical fencing instructor looking for drills, although adjustments are definitely necessary. Table of Contents: Autobiography Section I: History of Fencing Early Fencing-Early Middle Ages-Fifteenth Century-Sixteenth Century-Seventeenth Century-Eighteenth Century-Nineteenth Century-Twentieth Century-The Swordsmith's Craft-The SwordSpecial Terms Used in the Description of the Weapons-Dimensions of the Weapons-Costumes-Salutations-Manners-Historical Perspective Section II: Theory and General Advice Analysis of Movement-Reflex Testing and Selective ResponsesPsychology of Fencing-Training-Physical Condition-CompetitionDiet-Manners Section III: Competitive Fencing General Background-The Teaching of Fencing-Weapons-StylesEquipment and Its Proper Use-Preparatory and Other Exercises Chapter 1: The Foil The Grip-Positions of the Body-Foot Movements-The TargetThe Salute-The Positions of the Weapon-Fundamental Movements and Definitions-Simple Actions-Defense-Compound AttacksComposite Parries-Compound Ripostes-Renewed Attacks-Actions in Time-The False Attacks-Disarmament-Free Play-Electrical Fencing Chapter 2: The Epee The On Guard Position-The Footwork-The Hit-The Parries and Ripostes-Other Actions Chapter 3: The Saber The Grip-Position of the Body-Foot Movements-The MoulinetsThe Target-The Salute-The Positions of the Saber-Simple Actions-Compound Actions-Compound Parries-Compound Ripostes-Dual Feints-Renewed Attacks-Actions in Time (Tempo) Section IV: Theatrical Fencing Introduction-Ancient Combat-Middle Ages-Early Modem PeriodModem Period-Exercises Useful for Stage Movements-The Fencing Scene in Hamlet-Moliere's Don Juan-Romeo and Juliet-King Lear Appendices

Books

145

Palfy-Alpar's choreography is, for the most part, a transferral of competitive fencing techniques to the stage. Alpar does not discuss in any real depth what adjustments are necessary to safely transfer competitive techniques to the theatre. Near the end of the book he briefly touches on unarmed fighting techniques such as rolls, falls, lifts, carries, and throws. The appendices include Olympic and World Championship Medal records through 1964.

106. Payne-Gallway, Sir Ralph. The Crossbow. Bramhall House, 1958. **D, V, M, R**

New York:

No ISBN available. Mr. Payne-Gallway's book will be of most use to fight directors, actors, and dramaturgs-especially if engaged in producing outdoor drama in which bolts could be loosed without danger to actor or audience. The text is 328 pages in length, includes 245 line drawn illustrations, 2 appendices, and an index. Payne-Gallway has presented this publication on "the history, mechanism, and manipulation of the crossbow; medieval and modem, military and sporting." He offers this publication because he insists that although the longbow has been treated exhaustively, the crossbow has not. Here is a very detailed examination of the crossbow from its inception, through its military use in the Middle Ages, and, ultimately, through its relegation to a weapon used in sport and hunting. The various manifestations of the crossbow and how it was used are illustrated quite clearly with literally hundreds of line drawings. The crossbow cocked by hand, the crossbow cocked by cranequin, the crossbow cocked by the "goat's foot" lever, cocked by "screw and handle," by the "belt and claw," by the cord and pulley," and by the "little windlass" are all covered in some depth. Also discussed are the various bolts, darts, and arrows that the bow uses; dimensions, raw materials, manufacturing process of shaft and head are all presented in great detail. Even the crossbow that fired bullets (stones and lead balls) is presented for perusal. An added bonus is two appendices that appear at the end of the book: "The Crossbow and Ancient Projectile Engines" and "Turkish and Other Oriental Bows of Medieval and Later Times." Those interested in Catapults, Balistas, and Trebuchets will find the first of these appendices of particular interest. The book is offered in four parts: I.

II. III. IV.

The History of the Crossbow, with Notes Comparative On the Longbow, Shortbow, and Handgun The Construction and Management of Crossbows: Medieval The Construction and Management of Crossbows: Modem A Treatise on the Siege Engines Used in Ancient and Medieval Times for Discharging Great Stones and Arrows.

This weapon rarely is seen on the stage but appears in film quite frequently. The crossbow was a prominent weapon and of standard issue during the medieval period. If you are involved in producing a play set in this period and are

146

Stage Combat Resource Materials

concerned with historical accuracy, it is difficult to avoid this weapon. Even if it is not actually fired onstage, it should probably be represented on the stage.

107. Peterson, Harold L. Daggers and Fighting Knives ofthe Western World (from the Stone Age till 1900). New York: Walker and Company, 1968. **8, B, I, D, M, R, T, E** LCCN: 67-23087. Mr. Peterson, one of the world's leading experts on the knife and dagger, offers this historical survey on daggers and fighting knives from pre-history through 1900. The book will be of most use to those engaged in recreating knives and daggers for the stage and screen. There is also historical information which will be of use to the fight director, director, and drarnaturg. The text is 90 pages in length, offers 108 black and white photographs of knives and daggers, a bibliography, and an index. Mr. Peterson, author of such impressive works as American Knives and American Swords, 1775-1945 (see annotations in this bibliography), offers a much needed supplement in the area of fighting knives and daggers. Table of Contents: Chapter One: Origins of the Dagger and Fighting Knife Chapter Two: Medieval Daggers Ronde1 Daggers-Base1ards-Quillon Daggers-Ballock Knives (Kidney Daggers)-Eared Daggers-Daggers Popularly Called CinquedeasPeasant Knives (Hauswehren)-Wood Knife (Trousse de Chasse; Weidpraxe) Chapter Three: The Sixteenth Century Ballock Knives-Swiss Daggers-Quillon Daggers-Landsknecht Daggers Chapter Four: The Seventeenth Century Left-hand Daggers-Stilettos-English Daggers-Ballock DaggersBayonets Chapter Five: The Eighteenth Century Scottish Dirk-Mediterranean Dirks and Peasant Knives-American Scalping or Rifleman's Knives Chapter Six: The Nineteenth Century Folding Knives-Bowie Knives-American Daggers-Naval Dirks This publication is especially helpful for its several examples of Stone Age knives and daggers. Equally useful is Mr. Peterson's insightful textual analysis of weapons from that same age.

108. Pitman, Brian. Fencing: Techniques of Foil, Epee and Sabre. Ramsbury, Marlborough, Wiltshire: The Crowood Press, 1988. **H, R, T, E** ISBN: 1-85223-152-1. This book will be of most use to the stage combat instructor who is teaching theatrical fencing. The text is 144 pages in length and

Books

147

includes 100 black and white photographs, 1 reproduction of an Angelo print, 12 line drawings, 1 diagram, a glossary, and an index. This publication is a very comprehensive and detailed study of the techniques that must be mastered to excel at foil, epee, and sabre fencing. This publication is highly recommended due to its concise descriptions of techniques combined with clear photographs in support of the descriptions. As always, the utility of any of the techniques offered in a publication geared for sport fencing must be examined in terms of their safety on the stage. All sport fencing pedagogy takes for granted that the opponent's safety is insured by virtue of the protective equipment the participants wear. Unfortunately, actors are not allowed the same luxury. Brian Pitman has over 30 years' experience as both coach and competitor. He began his career in the Royal Navy and later went on to represent the British Academy of Fencing on three occasions in the world championships. Mr. Pitman has also served as National Coach at all three weapons to the Amateur Fencing Association. At the time of printing Mr. Pitman was Vice-President of the British Academy of Fencing. Pitman's book serves as a guide for introducing the fencer to basic through advanced skills. The text is offered in four parts: PART ONE: ALL WEAPONS Chapter 1: The History of Fencing Chapter 2: Aims of the Game Chapter 3: Basic Skills PART TWO: THE FOIL Chapter 4: Conventions Chapter 5: How to Hold the Foil Chapter 6: The Hit Chapter 7: Simple Attacks Chapter 8: Defence Chapter 9: The Riposte Chapter 10: Compound Attacks Chapter 11: Successive Parries Chapter 12: Counter-Ripostes Chapter 13: Preparations PART THREE: THE EPEE Chapter 14: Characteristics of Epee Fencing Chapter 15: Offensive Actions Chapter 16: Defensive Actions Chapter 17: Ripostes Chapter 18: Compound Attacks and Ripostes Chapter 19: Counter-Attacks Chapter 20: Takings of the Blade Chapter 21: Defence Against Takings of the Blade Chapter 22: Renewals of Attack Chapter 23 : Observations of Epee Tactics PART FOUR: THE SABRE Chapter 24: Characteristics of Sabre Fencing Chapter 25 : Cuts

148

Stage Combat Resource Materials

Chapter 26: Simple Attacks Chapter 27: Defence Chapter 28: Ripostes Chapter 29: Footwork as Preparations Chapter 30: Elementary Tactics Chapter 31: Compound Attacks Chapter 32: Successive Parries Chapter 33: Preparations of Attack Chapter 34: Counter-Attacks Chapter 35: Observations on Sabre Tactics Appendix: The Piste and the Conduct of the Bout Mr. Pitman utilizes a similar format/structure for each chapter. The weapon is introduced by way of its target, grip, basic attacks, parries, and tactics and strategies. As he introduces each technique he supplies suggested combinations so as to practice the technique. He also supplies what he calls a "checklist." This can be very helpful to the instructor, as it supplies them with a ready made list of criteria to consider as each technique is taught. These competition techniques will need to be adapted so as to be safely utilized on the stage and screen. Mr. Pitman's book makes no claims to be anything other than a "HowTo" guide, at which it excels far beyond many of its type.

109. Quinn, Peyton. Bouncer's Guide to Barroom Brawling: Dealing with the Sucker Puncher, Streetjighter, and Ambusher. Boulder, CO.: Paladin Press, 1990. **H, U** ISBN: 0-87364-586-3. Peyton Quinn, who has produced such instructional videos as Barroom Brawling, and Blitzkrieg Attacks from the Bouncer's Trade, offers a companion publication. The book may be very useful to fight directors and instructors of unarmed stage combat techniques. The text is 253 pages in length, offers 35 black and white photographs and II line drawings of various techniques in various stages of development. Mr. Peyton is an accomplished martial artist-cum-bouncer. Table of Contents: Chapter I: The Ambush: Awareness and Avoidance Escalation of the Conflict-Why Fights Occur-The Ambush-An Adolescent Strategy-Getting Down to Cases-Some Fundamental Elements of Avoidance Tactics-The Seasoned Warrior Chapter 2: The Reality of Fighting Portrait of the Sucker Puncher-Some Characteristics of Real FightsSome Observations about Martial Arts-Versus Real Fighting Chapter 3: The Tool Box The Three Components of Speed-The Vertical Fist-The Back Fist-The Palm-Heel Strike-The Reverse Punch-The Shuto (knife hand)-The Hammer Fist-Open-Handed Throat Strikes-Elbow and Knee Strikes-

Books

149

The Importance of Having Well-Focused Shots in Your Tool Box-Some Conclusions about the Various-Strikes and Training Methods Chapter 4: Principles of Defense Principles of Open-Handed Blocking Techniques-The Outside CraneThe Inside Crane-Unifying Concepts of the Inside and Outside CraneContinuous Attacks-Using Common Sense in Your Tactics-Keeping Your Eyes Open-Blow Perception and Angle of Attacks Drills-Outside Crane Drills-Inside Crane Drills-Some Observation about Proper Combat Attitude-Creating Options for Yourself Between Normal and Combat-Kill Modes Chapter 5: Mobility, Stance, Facing, and the Finer Points of Staying Out of Jail The Objectives of Proper Stance-Facing Forward with Your Strong Side-Controlling Distance: The Advantage of Closing on Your AttackerThe Eight Angles of Movement-The Error in Action/Reaction ThinkingObjectives of the Sliding-Up Advance and Slipping-Back Retreat-The Sliding-Up Advance-The Slipping-Back Retreat-Movement and Facing Drills Chapter 6: Grappling, Throws, and Escapes Escaping from the Bear Hug from Behind-Dealing with the GrabEscaping from the Wrist Grab-Escaping from the Front Bear HugEscaping from the Rear Choke-The Fundamental Throw: Usoto GariThe Head and Elbow Spinout-Running the Mark Chapter 7: Selecting an Appropriate Marital Art for Your Personal Study Why Are There So Many Different Martial-Arts Systems?-The Significance of Body Type-Conditioning Your Body-There's No "Automatic" Self-Defense Value in Martial Arts-Martial Art, Its Application, and the Body of a Rock-Weapons Have Always Been the First Choice-The Most Common Martial Arts Systems at a GlanceDealing with the Crowd and the Use of Weapons-A Final Word The Asian martial arts certainly have an impact on this book. However, the style of presentation and the milieu in which the author places the techniques is typically American. In fact, Mr. Quinn is very clear in making the central point that in certain circumstances dojo techniques can get you killed. This is a book for fight directors looking for some additional techniques to add to their repertoire of "moves." Techniques covered in this book must be carefully adjusted for the stage or screen.

110. Edmond, James, editor. Violence in Drama. New York: Cambridge University Press, 1991. **B, I, H** ISBN: 0-521-40355-3. This compliation of articles on the purposes and techniques of violence in drama and on the stage will be of most interest to directors, dramaturgs, fight directors, and propsmakers. The tone of the publication is very scholarly, although it's stated purpose is to be accessible to those who are not necessarily experts in whatever the yearly chosen topic may

150

Stage Combat Resource Materials

be. This scholarly enterprise is 318 pages in length, includes 13 black and white photographs, 2 renditions of a Grand Guignol posters, and 1 line drawn diagram of knives with retractable blades and "stabbing rigs," as well as an index. Mr. Edmond, of Queen Mary and Westfield College, University of London, Hampstead, London serves as editor for this compilation of papers submitted for annual publication on a new theme each year. The authors and papers chosen for 1991 's theme, "Violence in Drama" include: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21 . 22. 23 . Index

"The Uses of Violence in Drama" by Thomas Gould "Violence in Greek Tragedy" by Simon Goldhill "Violence and Dramatic Structure in Euripides' Hecuba" by Charles Segal "Violence on the Street: Playing Rough in Plautus" by Richard C. Beacham "Violence and the Social Body in the Croxton Play of the Sacrament" by Victor I. Scherb "'There must be blood': Mutilation and Martyrdom on the Medieval Stage" by John Spalding Gatton "Mixed Feelings About Violence in the Corpus Christi Plays" by Richard L. Homan "Shakespearean Violence: A Preliminary Survey" by Jonas Barish "Cultural Disintegration in Titus Andronicus: Mutilating Titus, Vergil and Rome" by Heather James "Racine's Bajazet: the Language of Violence and Secrecy" by Maya Slater "Grand Guignol and the Orchestration of Violence" by Victor Emeljanow "The Ultimate Theatre of Violence" by John M. Callahan "Lesbian Sexuality and Violence in the plays of G.B. Shaw" by Ellen Gainor "Violence as Tragic Farce in Caumus's Caligula" by Ben Stoltzfus "Violence in the Plays of Frederico Garcia Lorca" by Kay Garcia "Apartheid and Primitive Blood: Violence in Afrikaans Shakesperare Productions" by Rohan Quince "A Streetcar Named Mysogyny" by Kathleen Margaret Lant "Languages of Violence: Fugard's Boesman and Lena" by Marcia Blumberg "Stage Violence as Thaumaturgic Technique" by Mary Karen Dahl "Violation and Implication: One for the Road and Ficky Fingers" by David Ian Raby "The Mask as Sign of Violence in Contemporary Latin American Theatre" by Severino Joao Albuquerque "'night, Mother and True West: Mirror Images of Violence and Gender" by Raynette Halvorsen Smith "The Role ofthe Theatre in Czechoslovakia's 'Velvet Revolution'" by Jeremy Adler

Books

151

Some very interesting insights are offered into the violence which appears in some of the "mystery" and "saints" playes of the medieval period as well as how some of the more gory special effects might have been orchestrated. On a similar note, the essays on the Parisian Boulevard's Grand Guignol Theatre of the nineteenth and twentieth centuries may be of some interest to fight directors and propsrnakers. Dr. John Callahan (retired Professor of Theatre, Kutztown University of Pennsylvainia, Department of Speech and Theatre) offers commentary on a variety of techniques employed for simulating acts of torture and mayhem on the Guignol stage-as well as line drawn illustrations for retractable blades which ooze stage-blood and "stabbing rigs" which hold blades in place to create the illusion that a blade has actually entered the body of the victim and is protruding on its own without being held in place by the actor. It should be added that several of these papers were orally delivered at the annual conference on "Themes in Drama" held at Queen Mary and Westfield College in London and at the University of California, Riverside.

111. Reid, Stuart and Bryan Fosten. Wellington's Highlanders. Men-atArms Series. London: Osprey Publishing, Ltd., 1992. **E** ISBN: 1-85532-256-0. Mr. Reid furnishes the text and Mr. Fosten the color illustrations. This Osprey entry concerns itself with the Highlander regiments under the command of Wellington at the outbreak of war with France in 1793. The book will be of interest to fight directors, directors, drarnaturgs, actors, costumers, and weaponsmakers. The text is 48 pages in length, offers 34 black and white illustrations and photographs, 4 line drawn illustrations and 8 color plates (illustrations). Mr. Reid begins with a discussion on how a regiment was raised during the period. Battles which are touched upon include Quarte Bras and Waterloo. List of section titles: Raising a Regiment The Officers-Enlistrnent-The Character of the Regiments Highland Uniform The Loss of the Kilt-Weapons Regular Regiments Fencibles The Regiments The Plates (illustrations) Mr. Fosten's illustrations are of high quality. Included in his plates are: an Officer and Private in the 42nd Royal Highland Regiment, a Recruiting Sergeant, a Grenadier, a Private and Officer of the Strathspey Fencibles, a Private of the Rothesay and Caithness Fencibles, a Field Officer of the I09th Aberdeenshire Regiment, an Officer of the I I6th Highlanders, various Pipers, and several other soldiers and officers of varying regiments. Fight directors, costumers, and weaponsmakers will appreciate Mr. Fosten's attention to detail.

152

Stage Combat Resource Materials

Swordmakers will also enjoy the detailed photographs of two Scottish broadsword hilts.

112. Reid, William. Arms Through the Ages. New York: Harper and Row, Publishers, 1976. **S, B, I, D, V, M, R, T, E** ISBN: 0-06-013527-1. Mr. Reid offers solid information and penetrating analysis for those interested in arms and armor, detailing literally hundreds of weapons through the ages. The publication's text will most interest directors, actors, and fight directors, whereas designers will value the artwork and diagrams. The text is 280 pages in length with over 700 illustrations, diagrams, print reproductions, 1 black and white photograph, a bibliography, glossary, and index, and further readings. The scope of the book is quite broad (literally the Stone Age through the Atomic Age as of 1945). Although there are few photographs, the artwork is first rate as is the descriptions and analyses of hundreds of weapons, armor, castles, battle tactics, weapon materials, etc. Here is the literal evolution of the history of arms and armor; how arms were, and continue to be, used in personal combat to this day. There is much here to do with firearms, but this should not deter the reader interested in edged weapons. The first eleven chapters offer discussion and illustrations of such diverse cut and thrust weapons as the halberd, the poleaxe, the spear and javelin, the bow, the dagger, and the sword and rapier.

113. Richards, Jeffrey. Swordsmen ofthe Screen: From Douglas Fairbanks to Michael York. London: Routledge and Kegan Paul, Ltd., 1977. **M, R, T, E** ISBN: 0-7100-8478-1. Mr. Richards offers a delightful homage to the Golden Age of the Swashbuckler film which examines the nature of the geme and many of the major contributors to it. The book will be of most interest to fight directors, dramaturgs, directors, and actors. Costumers may find the photographs of period clothing useful, but all of the photographs are in black and white. The text is 296 pages, offers 179 black and white photographs, a bibliography, and index. Mr. Richards, with panache equal to that exhibited by the stars of the geme, delves quite deeply into his subject. He does not ignore the personal lives of the stars of these movies, but spends much more time on the movies, the stunts, the fights, and what went on behind the scenes. Mr. Richards begins by defining the geme: A swashbuckler may, in Elizabethan times, have been a ruffian. But in the cinema, he is unquestionably a gentieman...Stylization rather than realism, fictional adventure and not historical fact are the keynotes... Content is ritualized, emotions are stereotyped, the characters are archetypes rather than individuals...the swashbuckler is pre-eminently a collaborative effort-of art

Books

153

director, costume designer, fencing master, stunt arranger, cinematographer, writer, cast, and director. (pp. 3-4) The book is a deft blending of biography, film history, literature, plot summary, critical commentary, and tabloid scandal sheet. Table of Contents: Introduction 1. Swashbuckling-a Profile of the Geme Characteristics-Origins-Cycles 2. The Swordsmen of the Screen "All for one-and one for all" 3. 4. When Knighthood was in Flower The Chivalric Ethos-King Arthur and the Knights of the Round Table-Chivalric Superheroes 5. Cavaliers and Conquistadores The Sixteenth Century-The Seventeenth Century 6. Blades and Brocades The Eighteenth Century-The Nineteenth Century 7. The Masked Avengers 8. Under the Greenwood Tree Robin Hood in Fact and Fiction-Robin Hood on the Screen-Robin by Another Name 9. Ho, for the Open Road! 10. 'Neath the Skull and Bones 11 . On the Spanish Main 12. The Sheikhs of Araby Index of Film Titles Mr. Richards examines many of the subcategories of the geme including: 1. 2. 3.

4. 5. 6. 7. 8.

many versions of The Three Musketeers medieval period Restoration period and the English Civil War "masked" swashbucklers (The Mark of Zorro, The Scarlet Pimpernel!, The Purple Mask, The Masked Pirate, et al.) The several versions of Robin Hood The Highway man Pirates and the Spanish Main The oriental swashbuckler The The The The

Richard's text devotes a fair amount of print to the men who choreographed the great swordfights of the screen. Great talents such as Fred Cavens, Ralph Faulkner, Jean Heremans, and Hemy J. Uyttenhove are discussed and some are even seen in stills from the films . The "Index of Film Titles" is also quite informative. This book literally bursts with action filled photographs from this substantial list of films. The fight director will not find a great deal of technical information here, although some of the photographs offer some wonderfully

154

Stage Combat Resource Materials

energetic poses. Anyone wishing to find out about what went into planning and making these remarkable films will find a plethora of information in Swashbucklers ofthe Screen.

114. Roberts, Keith and Angus McBride. Soldiers of the English Civil War (1) Infantry. Elite Series. London: Osprey Publishing, Ltd., 1989. **R, T**

ISBN: 0-85045-903-6. Mr. Roberts provides the text and Mr. McBride the illustrations. This book will be of use to fight directors, directors, dramaturgs, actors, costumers, armorers, and weaponsmakers. The text is 64 pages in length, 11 black and white photographs, 29 black and white reproductions of period artwork, and 11 color plates (illustrations). The text begins with an examination of English military drills, which found their basis in Dutch military manuals by such theorists as John of Nassau (as printed by Jacob de Gheyn). List of section titles: The Military Revolution Drill Masters and Drill Books The London Voluntary Associations-The Trained Bands The Trained Bands in the Civil War The London Trained Bands The Infantry of the Civil War: Organisation Officers-Numbers-Ensigns Weapons Musketeers-Pikemen Dress, Logistics and Management Uniforms-Pay-Discipline-Victuals-Mutiny-Training-Into BattleA Last Work Further Reading The Plates McBride's illustrations of soldiers of the English Civil War are very informative. Armorers will enjoy the black and white photographs of various pieces of armor. The weaponsmaker will find a plethora of weapons offered in the various nonphotographic illustrations. The book offers several reproductions from drill manuals of the period featuring musketeers and pikemen. Here then is plenty of information on both "Roundhead" and "Royalist" soldiers.

115. Rothero, Christopher. The Armies ofCrecy and Poitiers. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1981. **M** ISBN: 0-85045-393-3. Mr. Rothero offers both text and color illustrations. The text will be of most use to fight directors, directors, dramaturgs, actors, costumers, armorers, and weaponsrnakers. The book is 40 pages in length, 14 black and white photographs, 19 line drawn illustrations, 2 maps, and 8 color

Books

155

plates (illustrations). Mr. Rothero begins by explaining the shift in power in France from the Capet dynasty to that of the Valois family and the turmoil which the Valois ascendancy led to, including Edward III of England's claim to the French throne. List of section titles: The Hundred Years War Crecy Poitiers The Chain of Command The Cavalry Cavalry Armour Infantry Mercenaries Supply An Analysis of Crecy and Poitiers The Plates (illustrations) There are several photographs of artwork from the period-including various effigies and paintings of various battles, jousts, and armed encounters. Included in Mr. Rothero's color plates are renderings of peasant infantrymen, crossbowmen, English archers, Edward Plantagenet (Prince of Wales; the "Black Prince"), the Earl of Pembroke, the Duke of Lancaster, Lord Basset of Drayton, the Count of Flanders, Charles Montmorency (Constable of France at Crecy), King Edward III, and various other knights and soldiers. Fight directors, costumers, armorers, and weaponsrnakers will appreciate these illustrations. There are no photographs of extant weapons or armor offered; however, there are several reasonably detailed line drawn illustrations of sword hilts and armor. Mr. Rothero is also author of an additional Osprey entry entitled The Armies of Agincourt.

116. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. Boulder, Co.: Paladin Press, 1983. **H, S, B, I, D, V, M, R, T, E** ISBN: 0-87364-259-7. Mr. Sanchez offers his thoughts on the training and techniques of the effective knife fighter. This text will be of use to the fight director and stage combat instructor involved in staging or teaching knife fighting for the stage and screen. The text is 89 pages in length and offers 96 line drawn illustrations. Mr. Sanchez has penned a very informative book on both training and fighting techniques for the knife fighter. Mr. Sanchez examines both Eastern and Western fighting styles, as well as what he refers to as "deviant" strategies. Table of Contents: 1.

Practice Knives Bowie Knife-Butcher Knife-F-S Knife-Boning Knife-Double Hom Poignards-Double Short "Gim"-Unnamed Type-Butterfly

156

1.

2.

3.

4. 5.

6. 7.

Stage Combat Resource Materials Knives-Double Practice Knives-Top View-Outer Sides-Inner Sides Striking Methods The Snap-Cut-The Power Slash-The Hook-Cut-Drawing on the Cuts-The Snap-Thrust-The Standard Thrust-The Hook-ThrustThe Reverse Grip-Reverse Slashes-Reverse Stabs-Advantages of the Reverse Technique-Forehand or Reverse Techniques? Target Training Paper Slashing-Thread Cutting-Paper Thrusting-The Direct Method of Target Training-The Shadow-Fighting Method-Iaijutsu Strike Patterns Circular Repetitions-Figure Eights-The Ladder-Spiral PatternsLadders of Spiral Patterns Knife Shifting The Method-Fine Points Deviant Styles The Foil Fencing Style-The Close-Interval Thrusting Style-The Chopping Style-The Hysterical Reverse Style-The Sudden-Death Style-Training Against the Deviant Stylist Further Study Kicking-Focus Conclusion

If there is a weakness to this publication it is the illustrations. The description of the various techniques is more than adequate.

117. Sekunda, Nicholas Victor and Angus McBride. The Ancient Greeks. Elite Series. London: Osprey Publishing, Ltd., 1986. **B,I** ISBN: 0-85045-686-X. Mr. Sekunda pens the text while Mr. McBride offers the color illustrations. The book will be of most use to fight directors, directors, dramaturgs, costumers, actors, and weaponsmakers. The text is 64 pages in length, offers 47 black and white photographs, 10 line drawn illustrations, and 12 color plates (illustrations). This is an excellent resource for those attempting research into the military dress and combat techniques of the various Greek citystates of the period dating from the fifth century B.C.to Alexander the Great's death at the end of the fourth century B.c. List of section titles: Introduction Hoplite Warfare-The Lakedaimonian Army-Argive Military Organisation-The Argive Epilektoi Fifth Century Cavalry The Thessalian League-Athenian Cavalry The Peloponnesian War Greek Psiloi-Athenian Military Organisation- The Lakedaimonian Army at First Mantineia, 418 B.C.-The Mantineian Army

Books

157

The Lakedaimonian Hegemony The Army of the Boeotian League-Organisation of the Lakedaimonian Army, c. 413-c. 371 B.C. The Expansion of Thebes The Mantineian Campaign-The Thessalian League-The Theban Army The End of Greek Independence The Sacred War, 355-346 B.C.-Athenian Army Reform-The End of the Athenian Army-Greek State Contingents in Persian Service The Plates (illustrations) Key Notes Mr. McBride's illustrations are of high quality and offer renderings of Lakedaimonian officers, Samian hoplites, Argive hoplites, Athenian hoplites, Thracian peltasts, Boecian hoplites, and Athenian cavalrymen-just to name a few. Virtually all of the black and white photographs are taken from extant vases and artwork. There are no photographs of extant weapons. Weaponsmakers and swordmakers will have to rely totally on Mr. McBride's detailed illustrations. Mr. Sekunda and Mr. McBride have also produced a Menat-Arms Series entry entitled The Army of Alexander the Great. This second text examines the army developed by Philip the Great and its subsequent accomplishments under the leadership of his son, Alexander. 118. Sietsema, Robert. Weapons and Armor. New York: Hart Publishing Company, Inc., 1978. **S, B, I, D, V, M, R, T, E** ISBN: 08055-1253-5 (hardcover); 08055-0363-3 (paperback); LCCN: 7775703. Mr. Sietsema has compiled an impressive list of illustrations of arms and armor from several periods as reproduced from other sources. This copiously illustrated oversized book will be useful to swordmakers, weaponsmakers, armorers, fight directors, directors, and actors. The book is 191 pages in length, offers over 1,000 illustrations of weapons and armor, an index and a list of sources. Weapons and Armor presents a pictorial history of the development of the engines of warfare from ancient to modem times. The book is divided into two sections. The section on armor contains excellent, detailed illustrations of cuirasses, helmets, gauntlets, coats of mail, as well as complete suits of armor from many different countries and periods of history. The section covering weaponry includes everything from primitive war clubs to sophisticated automatic guns. All of the illustrations are in the public domain and available for reproduction. This is, perhaps, one of the publication's most attractive features. Frequently, researchers will find themselves scanning through hundreds of pages of material-when all they are actually searching for is illustrations. Weapons and Armor is the perfect text for that person. Table of Contents: HOW TO USE THIS BOOK

158

Stage Combat Resource Materials

WEAPONS Battle Axes-Bows and Arrows-Cannons-Catapults and Battering Rams-Clubs and Throwing Sticks-Daggers and Knives-HandgunsMachine Guns-Miscellaneous and Unusual Weapons-Pole ArmsPoniards and Short Swords-Powder Homs-Rifle-Spears, Javelins, and Lances-Swords-Tanks, and Assault Engines ARMOR Arm Pieces-Leg Pieces-Complete Suits of Armor-Cuirasses and coats of Mail-Helmets-Horse Armor-Shields, Targets and Bucklers The illustrations are almost exclusively of the line drawn type reproduced from dozens of sources listed at the end of the text. These illustrations are the centerpiece of the text and are quite detailed; enough so that armsmakers and armorers will find them of use in recreating period weaponry and armor.

119. Silver, George. Paradoxes of Defence. Oxford: Humphrey Milford, Oxford University Press, 1933. **H, R** No ISBN available. The Shakespeare Association of England offers a reprint (facsimile) of George Silver's 1599 diatribe against the evils of the Italian style of rapier and dagger fencing and its deadly thrust. The text will be of most use to the fight director, the director, and the dramaturg. Silver's treatise offers many insights into the controversy raging in Shakespeare's England regarding the Italians, their schools of fence, their weapons, and their style of fighting versus the indigenous style of swordplay championed by Silver and the English Masters of Defence (the short [broad] sword and its cut and thrust style). The text is 72 pages in length and offers 2 illustrations. The Shakespeare Association of England obviously felt that the styles of fence at play during the Age of Elizabeth I had enough impact on the works of Shakespeare that these styles should be examined. In Shakespeare's works one need look no further than Mercutio's defamation of Tybalt to Benvolio in Romeo and Juliet for an excellent example. For an in depth examination of Shakespeare's manipulation of this controversy to his advantage the reader should turn to Horace S. Craig's "Dueling Scenes and Terms in Shakespeare's Plays" (Publications in English, Univ. of Calif., vol. 9, no. 1, 1940.). List of section titles: An Admonition to the Noble, Ancient, Victorious, Valiant, and Most Brave Nation of Englishmen Of sixe chiefe causes, that many valiant men thinking themselves by their practices to be skilfull in their weapons, are yet manie times in their fight sore hurt, and manie times slaine by men of small skill, or none at all. That the cause that manie are so often slaine, and manie hurt in fight with long Rapiers is not by Reason of their dangerous thrusts, nor cunningnesse of that Italienated fight, but in the length and unweildinesse thereof. Of running and standing fast in rapier fight, the runner hath the vantage.

Books

159

George Silver his resolution upon that hidden or doubtfull question, who hath the advantage of the Offender of Defender. Of Spanish fight with the Rapier. That a blow commeth continually as neare a way as a thrust, and most commonly nearer, stronger, more swifter, and is sooner done. Perfect fight standeth upon both blow and thrust, therefore the thrust is not onely to be used. That the blow is more dangerous and deadly in fight, then a thrust, for proofe thereof to be made according with Art, and Englishman holdeth argument against an Italian. The grounds or Principles of true fight with all maner of weapons. The wardes of all maner of weapons. Of the length of weapons, and how everie man may fit hirnselfe in the perfect length of his weapon, according to his wone stature, with brief reactions wherefore they ought to be. Of the length's of the Battel axe, Halbard, or blacke Bill, or such like weapons of weight, appertaining unto gard or battell. Of the insufficiencie and disadvantages of the Rapiers fight in Battell. Of the vantages and suffinciencie of the short Sword fight in battell. That the Sword and Buckler hath the vantage against the Sword and Target. The short Staffe hath the vantage against the long Staffe, and Morris Pike, and the Forrest bill against all maner of weapons. Questions and answers between the Scholler and the Maister, of the vantages and disadvantages betweene a tall man, and man of meane stature, having both the perfect knowledge in their weapons. (A lesson in the Socratic tradition) Of the long single Rapier fight betweene valiant men, having both skill, he that is the best wrastler, or if neither of them can wrastle, the strongest man most commonly killeth the other, or leaveth him at his mercie. Of the imperfection and insufficiencie of Rapiers in generall, of what length soever they be. Mr. Silver's Paradoxes of Defence (1599) is intended as a direct retort to di Grassi's True Arte of Defense (1594), and Saviolo's Vincentio Savi%, His Practice in Two Books (1595). In Mr. Silver's book the reader will find a concise presentation of the English/Italian conflict. Here then, is half of the argument presented by one of its most eloquent champions. He also discusses polearrns at length, such as the pike, the Morris Pike, the Halberd, the Forrest Bill, the Battle Axe, etc. Here is a book which would be easy to dismiss as an academic curiosity, but which actually yields a great deal of practical information for the fight director, director, and dramaturg regarding actual Elizabethan fencing technique.

160

Stage Combat Resource Materials

120. Silver, George. The Works of George Silver: Comprising "Paradoxes of Defence" and "BrefInstructions Upon My Paradoxes ofDefence." Edited by Cyril G. R. Matthey. London: George Bell and Sons, 1898. **H, R** No ISBN available. Mr. Matthey, in consultation with Captain Alfred Hutton and Captain Carl Thimm, offers the previously unpublished manuscript of George Silver's Bref Instructions Upon My Paradoxes of Defence in tandem with Silver's earlier tome, Paradoxes of Defence. This book will be extremely useful to fight directors, dramaturgs, and anyone interested in the indigenous fighting style of the English Masters of Defence. The text is 135 pages in length, offers I illustration, 9 facsimiles of pages from the two original manuscripts. Silver thought his Bref Instructions ...to be of significant import. He goes so far as to state that the first publication was useless without its second. Why then was his first tome published and the second relegated to obscurity for virtually three hundred years? In all probability we shall never know. However, thanks to Mr. Matthey, we now have both publications as Mr. Silver intended. In this annotation I will not go into great depth regarding the contents of Paradoxes of Defence (see annotation above). List of chapter titles: To the Reader Admonytions to the Gentlemen & Brave Gallants of Great Britaine Against Quarels & Brauls Written By George Silver, Gent. BrefInstructions upon my pradoxes of Defence for the true handlyng of all Mannr of weapons together wt the fower grownds & the fower goumors wt the fower gouemours are left out in my pradoxes wt out the knowledge of wth no Man can fight faf. Chapter I: The Fower grownds or principls ofyt true fyght at all manner of Weapons are these 4, viz. : I. Judgment 2. Distance 3. Tyme 4. Place Chapter 2: Certaine general rules wth must be observed in yt prfyt use of al kynde of weapons. Chapter 3: A declaration of al the 4 generall fyghts to be used wt the sword at dubble or syngle, longe or short, & wt Certaine prticuler rules to them Annexed Chapter 4: Of the Short Syngle Sword fyght against the lyke weapon Chapter 5: Of divrs aduantages yt you may take by strykinge from yor warde at yt Sword fyght. Chapter 6: The rnannr ofCertaine gryps & Clozes to be used at ye Syngle Short Sword fyght &c. Chapter 7: Of the Short Sword & dagger fyght against the lyke Weapon. Chapter 8: Of the Short Sword & dagger fyght against the longe Sword & dagger or longe rapier & poniard. Chapter 9: Ofye Sword & Buckler fyght. Chapter 10: Of the two hand sword fight against ye like weapon.

Books

161

Chapter 11: Of the Short Staf fyght, being of convenient length, against ye like weapon. Chapter 12: Of the Short Staf fyght against the longe staf. Chapter 13: Offthe fight of the forrest byll against the like weapon & against the staf. Chapter 14: Of the fyght ofye morris pyke against the lyke weapon. Chapter 15: Of the Single Dagger fyght against the lyke weapon. Mr. Matthey, in his Introduction, carefully comments on the fact that the fencing technique of the duel bears little resemblance to that of the battlefield. He believes that Mr. Silver's 300-year-old approach to cut and thrust will be of use to the contemporary soldier circa 1898. Matthey singles out Mr. Silver's discussion on the use of the hilt and pommel in close-quarter sword "fighting" as an example of the sort of battlefield technique beyond the polite etiquette of the Code Duello.

121. Simkins, Michael and Ron Embleton. The Roman Army from Caesar to Trajan. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1984. **1** ISBN: 0-85045-528-6. Michael Simkins, author of Warriors ofRome, offers the text while Mr. Embleton pens the color illustrations. The book will be of most use to fight directors, directors, dramaturgs, actors, costumers, armorers, and weaponsmakers. The text is 40 pages in length, offers 32 black and white photographs, 13 line drawn illustrations, 1 map, 8 color plates (illustrations), and a bibliography. Mr. Simkins begins the text by discussing the organization of Roman Legions and the coveted state of "citizenship." He then moves on to his discussion of the two essential components of the Roman armies: the legions (composed entirely of Roman citizens) and the auxilia, or foreign contingents of the army. List of section titles: Chronology Introduction The Composition of the Army Entry, Training and Campaign Routines The March and the Marching Camp Arms and Armour Body Defences-Helmets-The Sword-The Shield-The Javelin-The Military Belt and Dagger Conclusion The Plates (illustrations) Bibliography Mr. Simkins is a recognized expert in the area of arms re-creation from the Roman Republican and Empire periods. This publication includes photographs of several of his re-creations (several of which also appear in Warriors of

162

Stage Combat Resource Materials

Rome). This is quite refreshing, as frequently extant weapons are in such distressed shape that it makes it difficult to gain a clear understanding of what the weapon actually looked like when it was manufactured. Similarly, he offers re-creations of not only weapons, but helmets, boots, cuirasses, shields, and daggers. Simkins and Embleton have also produced a Men-at-Arms sequel entitled The Roman Army from Hadrian to Constantine.

122. Simkins, Michael. Press, 1988. **B,I**

Warriors of Rome. New York: The Blandford

ISBN: 0-7137-2001-8. Simkins and illustrator, James Field, examine the Roman soldier in his various manifestations over several centuries. Simkins's book will be of use to fight directors, armorers, weaponsmakers, directors, actors, costumers, and dramaturgs. Armorers and weaponsmakers will appreciate Simkins's re-creations of armor and weapons from the period. The text is 160 pages in length, and includes 20 color illustrations of Roman soldiers in action against various enemy soldiers and barbarian warriors. Also included are 65 black and white and color photographs of ancient artwork and weapons, and modem facsimiles of ancient weapons, helmets, uniforms, and armor; 29 line drawings and 4 maps. Simkins also offers a chronology of major events in the Roman Republic and Empire, as well as a bibliography and an index. The author traces the development of the Roman soldier, his weaponry, his armor and those methods of fighting used to establish and later defend one of the greatest empires the world has ever seen. Simkins enjoys an international reputation for his knowledge of the Roman armies and for his internationally acclaimed reconstructions of Roman armor and weaponry. Table of Contents: Chronology Introduction 1. Gaius Marius and Gaius Julius Caesar 2. Gaius Julius Caesar Octavianus Augustus 3. The Claudian Invasion of Britain 4. The Campaign Against the Druids and the Boudican Revolt 5. Masada 6. Military Equipment Mr. Simikins offeres detailed analysis of the Roman Legion in all its various incarnations. Although it is interesting to examine archeological artifacts from the period, quite often they are so deteriorated that it is difficult to truly grasp what the piece looked like when first constructed. Simkins, with his recreations, gives us a closer look at these items in mint condition.

123. Snodgrass, A. M. Arms and Armour ofthe Greeks. Ithaca, New York: Cornell University Press, 1967. **B, 1**

Books

163

LCCN: 67-20632. Mr. Snodgrass has written what many scholars (including Stuart Pyhrr, Curator of the Arms and Armor Exhibit at New York's Metropolitan Museum of Art) consider to be the definitive study on the arms and armor of ancient Greece, despite its 1967 publication date. This is an excellent resource for anyone interested in the weapons, armor, and warfare of the Grecian Bronze Age. This scholarly examination will be of use to fight directors, armorers, weaponsmakers, directors, and dramaturgs. The book is 151 pages in length, offers 39 black and white photographs, 3 line drawn illustrations, an index, an a bibliography of sources. Noted Classical scholar A. M. Snodgrass examines the armor, weapons, and battle strategies of the Archaic and Classical periods of ancient Greece. Included are discussions on the Mycenaeans (the period depicted in Homer's Iliad), the Cretans, the Minoans, the Athenians, the Corinthians, the Spartans, and several other warriors of various ancient Greek city-states. Table of Contents: I.

II. III.

IV. V.

The Mycenaeans The Shaft Grave Period The Palace Period The Late Period The Dark Age The Age of the Hoplite The Coming of the Hoplite The Spread of Hoplite Armour Other Armour The Great Wars Macedon

Snodgrass does an excellent job of presenting the few shreds of evidence available on the arms and armor of ancient Greece. He artfully leads us from one archeological site to the next; from extant vase to extant sword blade; from boar-tooth helmet to bronze spearhead. What has been unearthed and is available for analysis Mr. Snodgrass includes in his text. Of particular note is Chapter III., which takes as a focus the evolution of the Greek hoplite. There is also a great deal of useful information on the army of Alexander the Great. As the author adroitly points out, much of the information we currently have comes to us from vases and artworks of the period. Homer, writing in the eighth century B.C., places his Iliad in a significantly earlier period. This makes his picture of ancient Greek arms, armor, and warfare problematic and he cannot be counted upon to fill the gaps left in our archeological knowledge. Is the picture he paints a reliably accurate depiction of the Mycenaean period?--or is it closer to his own? Snodgrass does a credible and entertaining job of navigating the murky waters where archeological evidence is often clandestinely joined to poetry, literature, and written history.

164

Stage Combat Resource Materials

124. Sprague, Arthur Colby. Shakespeare and the Actors: The Stage Business in His Plays (1660-1905). Cambridge, Mass.: Harvard University Press, 1948. **R, T, E** No ISBN available. Mr. Sprague offers an examination of the stage business of Shakespeare's plays from the Restoration period through the early twentieth century. This publication will certainly be of use to fight directors, directors, and dramaturgs. The book is 442 pages in length, offers 10 black and white photographs, 2 line drawn illustrations, an index, and bibliographical notes. Noted Shakespearean scholar, Arthur Colby Sprague, has culled through dozens of antique prompt books in an effort to educate us as to how certain scenes of stage business in Shakespeare's plays have been handled down through the centuries. Sprague offers detailed insight into how some of the theatre's greatest Shakespearean actors staged various famous pieces of business. Included in this list are such luminaries as Salvini, Irving, Booth, Forrest, Kemble, Kean, Macready, and others. Table of Contents: Introduction Chapter I: The Comedies Chapter II: The Histories Chapter III: Hamlet Chapter IV: Othello Chapter V: Macbeth Chapter VI: The Other Tragedies It is interesting to compare how Salvini effected the exchange of rapiers and the

stabbing of Claudius to Sir Frank Benson's Retiarius (the Roman gladiator who fought with fishing net and trident) approach. He offers examinations of combat sequences in several of Shakespeare's plays.

125. Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. Boulder, Co.: Paladin Press, 1986. **H, U, S, B, I, D, V, M, R, T, E** ISBN: 0-87364-341-0. Mr. Steiner offers several "combato" methods for disarming armed assailants. The text will be very useful to fight directors and instructors of armed and unarmed stage combat. The text is 172 pages in length and offers 135 black and white photographs. Bradley Steiner is an expert in the field of combato, a combination of Asian and Western martial arts techniques: .. .in Combato we use all that is effective from Eastern and Western martial traditions. The objective of Combato is to modernize, synthesize, and "practicalize" the physical, mental, and spiritual aspects of all forms of close combat. (20) Table of Contents:

Books

1. 2. 3. 4. 5.

6.

7.

8.

9.

10.

11. 12.

165

Disarming and Hand-to-Hand Combat in Police Training Combato The Law-Enforcement Officer and Disarming Training Policewomen Mental Conditioning, Ch'an and Applied Psychology Working on Yourself-Ch'an-Practical Psychology Disarming Techniques in the Combato System Physical Training-Principles of Disarming-Know the Enemy The Bladed-Weapon Attack The Skilled Attacker-The Overhead or Descending StaIr-The Underhand or Upward StaIr-The Backhand Slash-Successful Defense Against a Knife Attack-Knife Hold-Ups and Threats-Types of Bladed Weapons-Target Areas for the Knife Attack Disarming the Knife-Wielding Attacker Combato's Basic Rules of Weapon Disarming-Two Fundamental Knife Disarming/Defense Tactics-Parry-Type Defenses-Overhand Stab Attack-A Straight-In Thrust Attack-An Upward Stab AttackKnife Defenses Using the Block-Forearm Block of Downward StaIrForearm Block of Upward StaIr-Forearm Block of Straight-In Thrust-Crossed-Arm Type Blocks-Knife Hold-Ups The Bludgeon Attack The Unskilled Stick Fighter-The Skilled Stick Fighter-The Stick Strange-The Officer's Advantage-Types of Stick WeaponsMethods of Defense Disarming the Bludgeon Attacker The Key Move-Initial Stop Blocks-Defense Against a SidewaysInward Swing-Defense Against a Backhand Club Attack-Ground Defense The Handgun Attack The Significance of Types of Handguns-Two Steps for Successful Handgun Disarming-Mental Conditioning-Physical Relaxation Disarming the Handgun Attacker Basic Principles-Frontal Gun Disarming-Pistol Aimed at Midsection-Variation of Frontal Pistol Disarm-Disarming from Hands Down Position-Pistol Aimed at Head; Hands Up-Pistol Aimed at Head; Hands Down-Pistol in Pocket-Two-Handed Pistol Grip-Rear Handgun Disarming-Hands Up Position-Hands Down Position-Pistol Aimed at the Face Lapel GraIr-Special SituationsTaking a Pistol Away from a Gunman The Shoulder-Weapon Attack Immediate Response-Criminal Use of Shoulder Weapons Disarming the Shoulder-Weapon Attacker Frontal Shoulder-Weapon Disarms-Weapon Aimed at Face-Weapon Aimed at Midsection-Variation Defense for Weapon Aimed at Midsection-Weapons Several Feet Distant-Rear Shoulder-Weapon Disarming-Weapon Pressed Against Back-Variation Defense for Weapon Aimed at Back-Weapon Aimed at Head

166 13.

14.

Stage Combat Resource Materials Basic Principles and Additional Applications Applying the Basic Principles-Razor Defense-Chain DefenseBaseball Bat-Broken Bottle-Hatchet-Surnming Up Guidelines for Instructors How to Conduct a Class-Advanced Students-Relations with Students-Organizing the Class-Safety

Virtually all of the photographs are devoted to illustrating techniques. The first eight chapters are disarming techniques for knives and bludgeons, while the later chapters include handguns and rifles/shotguns. As is always the case the techniques will need to be carefully adapted so as to be safely used on the stage and film set.

126. Stone, George Cameron. A Glossary of The Construction, Decoration and Use ofArms and Armor in All Countries and All Times. New York: The Southworth Press, 1934; (reissued New York: Jack Brussel, Publisher, 1961). **S, B, I, D, V, M, R, T, E** No ISBN available. An excellent and extremely useful resource for fight directors, directors, actors, weaponsmakers, armorers, properties-makers, and dramaturgs. The book may also be marginally useful to costumers. There is no table of contents. Over 875 photographs and illustrations of weapons and an extremely comprehensive bibliography is offered. Its 700 pages describes some 10,000 different kinds of arms and armor and includes 875 photo-engravings illustrating over 3,500 different kind of weapons. This book is quite possibly the most comprehensive compilation of information on arms and armor of all countries and of all time ever published. Stone's attempts to clear up much of the misinformation which has accrued over the years, giving consideration to the conditions under which armor and weapons were used (which places his work in a different category from photo-essays, which simply present photographs of the objects) and tracing parallel developments between Western and oriental arms and armor. In his introduction, Mr. Stone states: I have included a number of subjects that seemed to me closely enough allied to the main one to warrant it...fencing, fortification, early military organization, hawking, and, to a limited extent, hunting, and the capture of the larger marine mammals. Despite Mr. Stone's inclusion of a statement decrying the shallow nature of his publication, his book remains an excellent resource on arms and armor from around the world.

127. Styers, John. Cold Steel: Technique of Close Combat. Boulder, Co.: Paladin Press, 1974. **H, U, S, B, I, D, V, M, R, T, E**

Books

167

ISBN: 0-87364-025-x. John Styers has compiled a book of techniques geared primarily for the soldier, but many of the techniques can be adapted for stage combat. The entire approach to the subject is that of soldier fighting soldier. ..kill or be killed. The book will be of most use to fight directors and instructors of armed and unarmed stage combat. The text is 177 pages in length and offers 147 black and white photographs. John Styers enlisted in the Marines in 1935 and later became a student of the late Col. A. J. Drexel Biddle, dean of the close combat school. Virtually everything in this book can be adapted to the stage combat needs of most periods. Table of Contents: The Bayonet Knife Fighting Unarmed Combat The Stick Knife Throwing Mr. Styers offers some creative approaches to getting inside your enemy's defenses in knife-to-knife fighting. Mr. Styers' bayonet techniques, with very little adjustment, can be adapted for the eighteenth century musket, the pike, or even the spear or javelin of earlier periods.

128. Suddeth, J. Allen. Fight Directing for the Theatre. Portsmouth, N.H.: Heinemann, 1996. **H, M, R, T, E** ISBN: 0-435-08674-x. This exploration of the complex craft of the fight director is one of the most comprehensive and well conceived books on the subject. Every fight director should strongly consider adding this publication to their personal library. J. Allen Suddeth is a former president of the Society of American Fight Directors and is a certifed Fight Master with that organization. He has worked as a teacher and fight director internationally and is a frequent instructor at the Society of American Fight Director's National Stage Combat Workshop held each summer at the University of Nevada, Las Vegas. He has taught at the Julliard School and continues to be an active teacher and fight director on the regional theatre scene as well as in New York City. He also has an impressive list of fight direction credits for soap operas. His book is 344 pages in length, offers 11 line drawn illustrations, 108 black and white photographs, 22 reproductions of antique illustrations (including illustrations from the works of Angelo, Fabris, Marozzo, Sainct Dieier, and Talhoffer), 2 schematics of antique firearms, 5 diagrams, a glossary of terms, and several appendices. Mr. Suddeth is certainly one of the foremost experts in his field. He is not only an excellent instructor but also a well-respected fight director for the stage and screen. His book is quite comprehensive in its scope. It runs the gamut in its thorough analysis of the responsiblilities of the fight director and the collaborative process which the fight director enters into with the production staff. Mr. Suddth is most meticulous in his attention to detail. No stone is left unturned, no aspect of fight direction glossed over. Perhaps one of the most

168

Stage Combat Resource Materials

impressive aspects of the text is that although fight direction requires a great deal of attention to technique and organization, Mr. Suddeth does not allow his writing to get mired down in technical language. He maintains a healthy balance between disemmination of knowledge and humor while packaging it all in an accessible prose. Table of Contents: Chapter 1: Stage Combat Safety Safety First The Performers Costumes Historical Period, or Style, of Fighting Audience Safety Stage Lighting Rehearsal Lighting Stage Surface Casting Performers Who Must Fight Rehearsal Time Safety Last Chapter 2: Staging the Fight Imaging a Fight Fight Choreography Research The Trial by Combat The Private Duel Researching Period Illustrations The Fight Story and How to Use the Text Techniques of Fight Choreography The Fight Director's Timeline Phrasing in Staged Fights The Music of the Blades Contemporary Violence Found Weapons Group Fights and Mass Battles Fight Notation Copyright Laws for Choreography The Fight Captain Comedy Fights Food Fights How to Work with Fight Directors Qualifications of the Fight Director How to Safely Rehease Fights Thoughts on Safety in School, Amateur, and Community Theatre Productions Liability Chapter 3: Acting the Fight Acting the Fight How to Die Working with the Fight Director

Books

169

A Bit of History Red-Light Fever How to Get Rid of Performance Anxiety in Fight Scenes Unbelievable, but True, Safety Mistakes! Chapter 4: Arming the Fight Choosing a Period Weapon Weapons Purchase Protective Equipment for Actors Breakaway Props Sword Maintenance How to Custmize and Replace Sword Blades Recycling Existing Sword Stock Chapter 5: Stage Blood Blood Delivery Systems and Simple Tricks How to Make a Blood Bag Breaking Blood Bags Blood from the Mouth Blood on Costumes Blood Rehearsals Blood on the Stage Alternatives to Blood Blood Recipes Psychological Aspects of Blood Chapter 6: Firearm Safety Firearm Responsibility Gun Safety in Performance Types of Modern Stage Firearms Blank Amunition Black-powder Firearms Staging a Gunshot! Firearm Purchase or Rental The Brady Bill Waiting Period That's a Wrap Appendices Theatrical Arms Suppliers The Stage Manager's Checklist Basic Safety Checklist A Costumer's Safety Checklist Glossary of Terms Bibliography Index Mr. Suddeth, time and again, reminds the reader that one cannot become a proficient actor-combatant or fight director by simply reading a text on the subject. He urges the reader to seek guidance and training with a qualified fight director-and then procedes to inform the reader what constitutes those qualifications. If one is expecting a detailed exploration of cut and thrust or

170

Stage Combat Resource Materials

punch and block, one will need to consult a different text; as Mr. Suddeth takes a more general approach to his topic. His is a text which focuses, to a great extent, on pre-production planning, organization, anticipating pit-falls and avoiding safety traps which can lead to injury. For a more focused examination of individual fighting techniques the reader should consider Joseph Martinez's Combat Mime (un-armed technique) and Dale Girard's Actor's On Guard (rapier and dagger technique), both of whom are also certifed SAFD Fight Masters. Finally, Mr. Suddeth's appendices includes a list of theatrical arms suppliers which is very comprehensive. It includes not only suppliers of swords, but firearms, special effects props (such as resin glass and break-a-way furniture), rattan (for quarterstaffs) and athletic equipment (gymnastics mats and other useful accessories).

129. Szabo, Laszlo. Fencing and the Master. Translated by Gyula Gulyas. Budapest, Hungary: Franklin Printing House, 1982. **H, R, T, E** ISBN: 963-13-1275-5. Maestro Szabo, fencing master for over fifty years, offers his thoughts and techniques on training fencers. This book will be quite helpful to instructors engaged in teaching fencing for the stage and screen. The book is 291 pages in length, offers 120 line drawn illustrations of several fencing techniques in various stages of development, and a bibliography. It would be expected that Maestro Szabo is certainly qualified to publish his thoughts on the subject, as he is the product of one of the greatest fencing instructors of the twentieth century, Italo Santelli. Table of Contents: Approaches to Instruction in Fencing Group instruction and its fundamental problems The individual lesson The master's position during instruction Practice without protective equipment Devices, Methods and Procedures Employed in Instruction Forms of communicating knowledge Presentation of the blade as an instrument of fencing instruction Signals used to initiate movement The voice as a methodological device Role of the weaponless hand in instruction The use of rest periods Imitation as a form of instruction Perception by direct or indirect means, and the rendering of assistance Reducing or increasing difficulty as an assisting and demonstrating procedure Induction through compelling positions and tasks Supervision-self-supervision Faults and their correction "Fixing" "Shock-exposure" as a procedure for revealing the consequences of a fault The practice of fault correction

Books

171

Qualities Necessary for Fencing and their Development The sense of equilibrium and its development Attention and its development Sense of cadence and rhythm Tempo and its development Fencing vision and its development The development of dexterity The development of speed Muscle relaxation The Evolving of Technique and its Instruction Preparation The technical description and instruction of positions Preparation of footwork Distance-regulating movements and their instruction The Keeping of Distance and its Instruction The modes and forms of establishing the favourable distance The Evolving of Hand Technique Preparatory and inductive exercises The development of sentiment-de-fer-the characteristics, requirements and instruction of hand technique The Forms and Content ofIndependent Work The practice material of independent work Teaching aids in independent work The "Master-Pupil" Method ofInstruction The Practice of Individual Lessons Instruction of the Individual Fencing Actions The instruction of the attack The instruction of defence Tactics and its instruction Initiation and its instruction Preparation and its instruction The Mechanical Lesson The Mobile Lesson Other Forms of Practice with a Partner Attack-defence exercises-Conventional exercises-Methodical loose play-Loose play-training-Competition Bibliography This book is full of helpful hints for guiding and developing young fencers. Many of the techniques Maestro Szabo advocates are equally useful, with minor revision, in the instruction of theatrical fencing.

130. Tarassuk, Leonid and Claude Blair, eds. The Complete Encyclopedia of Arms and Weapons. New York: Simon and Schuster, 1982. **8, B, I, D, V, M, R, T, E**

172

Stage Combat Resource Materials

ISBN: 0-671-42257-x. Tarassuk and Blair have compiled essays by some of the foremost experts in the world on arms and armor to form an encyclopedia on the subject. This is a very valuable resource for fight directors, directors, drarnaturgs, actors, armorers, and weaponsmakers. The text is 544 pages in length, offers over 1,2500 color and black and white illustrations, a list of color illustrations, and a bibliography. Mr. Tarassuk (Research associate at the Department of Arms and Armor, Metropolitan Museum of Art, New York) and Mr. Blair (Curator of the Department of Metalwork at the Victoria and Albert Museum, London) serve as editors of essays gathered from several arms and armor luminaries. All entries are offered in alphabetical order. According to the publisher's preface: The guiding principle behind this encyclopedia has been provide extensive information on offensive and defensive weapons and armor over a wide period of history and a vast range of countries...The encyclopedia concentrates, therefore, on individual weapons and styles of armor, with particular emphasis on their component parts... This publication seeks to address the misinformation which has been disseminated in the past. This is one of the most comprehensive, informative, and useful texts on arms and armor which anyone could hope to acquire. It is copiously illustrated and offers scholarship that is of unparalleled quality.

131. Tarassuk, Leonid. Parrying Daggers and Poniards. Blue Diamond, Nev.:Society of American Fight Directors, 1987. **R** No ISBN available. The late Dr. Tarassuk offers a comprehensive and scholarly study of the Renaissance parrying dagger. This short booklet is an excellent resource for the fight director and weaponsmaker involved in creating parrying daggers for the stage and screen. The publication is a brief 27 pages in length, offers 22 black and white photographs of various parrying daggers and an additional 22 line drawn illustrations of daggers and reproductions from period fencing manuals. Not available through inter-library loan, but may be purchased directly from the Society of American Fight Directors. Contact the SAFD at 1800-659-6579. Dr. Tarassuk was an accomplished swordsman, scholar, writer, archeologist, and curator of arms. Dr. Tarassuk was frequently a consultant on films involving the re-creation of historical swordplay. The photographs of various parrying daggers, in tandem with descriptions of how and why they were designed and built the way they were, will be of interest to the weaponsrnaker. Dr. Tarassuk's descriptions of how these weapons were actually used, coupled with period illustrations from some of the antique manuals already listed and photographs taken expressly for the publication, in which models illustrate the proper technique for handling the weapons, and the proper angles for parrying and using the quillons to lock up an opponent's blade, will be of interest to the fight director/choreographer.

Books

173

132. Thimm, Carl. A Complete Bibliography ofFencing and Duelling. New York: Benjamin Blom, Inc. Publishers, 1896; (reissued 1968). **R, T, E** LCCN: 68-17152. Mr. Thimm has produced the most detailed bibliography on fencing and dueling through the end of the nineteenth century. This book will be of tremendous aid to fight directors, directors, and dramaturgs. Many of the resources will also be useful to costumers and weaponsmakers as well. The text is a dense 538 pages in length, offers 34 black and white illustrations (photographs and line drawn illustrations), and an index. This is a valuable resource for the fight director who is attempting to find primary resources from which to glean historical data to guide them in the creation of fight choreography. Virtually all of the early masters are represented in these pages. Many of the books in Thimm's bibliography have been reprinted and can be located. It is also worth mentioning that Mr. Thimm's bibliography is not limited to English language publications. Table of Contents: Preface List of Portraits, Title-Pages, Frontispieces, and Illustrations Bibliography of Fencing and Duelling, Comprising That of the Sword, Dagger, Bayonet, Pike, Quarter-staff, Single-stick, Battleaxe, and all other NonBallistic Weapons held in the Hands for the Arts of Self-Defence Index to the Bibliography, in Chronological Order, According to Languages (Alphabetically arranged) Notes on Duelling, Fencing, and the Sword, Culled from the Press During the Past Few Years Index to Notes Of particular interest to the fight director will be the section entitled "Notes on Duelling, Fencing, and the Sword, Culled from the Press During the Past Few Years." This section offers dozens of newspaper accounts of duels and armed encounters-some with pistols, many with swords. The publication includes several articles chronicaling duels on the stage. Mr. Thimm has compiled a truly outstanding resource on publications dealing with dueling and fencing printed pre-1896. This is certainly a "must have" publication for any serious fight director. It has been recently republished and is more readily available than in the past.

133. Thornbury, G. W. Shakespeare's England; or Sketches of our Social History in the Reign of Elizabeth (in Two Volumes). London: Longman, Brown, Green, and Longmans, 1856. **R** ISBN: 0-404-06425-6. Mr. Thornbury offers a comprehensive social history of England during the reign of Elizabeth I. Included in this survey is a chapter (chapter 4, volume 1) entitled, "The Law of the Duelle." This two volume set

174

Stage Combat Resource Materials

will be extremely useful to anyone interested in Elizabethan society, including its theatre, social etiquette, and dueling. Volume number one is 416 pages in length. Volume number two is 424 pages in length. This is an excellent resource about the London haunts Shakespeare and his contemporaries frequented. The book is valuable for its focus on social references in Shakespeare's plays. Table of Contents: VOLUME ONE Chapter I: The Streets of Chapter II: The Mansions and Palaces Chapter III: A Day's Amusement Chapter IV: The Laws of the Duelle The Sands of Calais-Fencing Masters-Frequency of DuellingIntroduction of the Rapier-Duels at Taverns-Saviolo's BooksCauses of Duels-Challenge-Conditional Lie-The Lie in GeneralThe Foolish Lie-Proud and Civil Proof-Causes that stayed DuelsTime for the Duel-The Combat-The Apology-Morality of the Duellists-Art of Fence-Parries-Terrns-Language of the Schools Chapter V: Serving-Men and Gentlewomen-The Kitchen and the Buttery Still-Room Chapter VI: Elizabethan Diet Chapter VII: Dress Chapter VIII: Cheats, Thieves, and Beggars Chapter IX: Hunting and Hawking VOLUME TWO Chapter X: The Theatre Chapter XI: Alchemy Chapter XII: Witchcraft Chapter XIII: Wapping in 1588 Chapter XIV: Elizabethan Country Life Chapter XV: Revels and Progresses Chapter XVI: Education and Miscellanea Thornbury discusses dueling in England as compared to France. He examines the way in which quarrels often ensued, followed by the correct way in which a cartel (challenge) was to be composed and delivered. Cursory discussion of various swordplay techniques follow (e.g., single rapier, rapier and dagger, rapier and gauntlet, and rapier and cloak).

134. Tincey, John and Richard Hook. The Armada Campaign: 1588. Elite Series. London: Osprey Publishing, Ltd., 1988. **R** ISBN: 0-85045-821-8. John Tincey supplies the text while Richard Hook provides the color illustrations. This book will be of use to fight directors, directors, dramaturgs, actors, costumers, and weaponsmakers. The text is 63 pages in length, offers 14 black and white photographs, 25 black and white

Books

175

reproductions of period artwork and 12 color plates (illustrations of Spanish and English seamen and soldiers). This publication's historical overview of the Spanish preparations for war, the English privateering activities, and the battle itself is quite informative. List of section titles: Introduction Spanish Invasion Plans The Army of Flanders The Nature of War at Sea Sail versus Oar-Ships and Sailing-Guns-The "Armada Fight"-31 July: The First Engagement-The Manoeuvres of 2-5 August-6-8 August England's Defensive Preparations The Militia Training-Weapons-Bills-Cavalry The Muster Certificates The Feudal Levy Uniforms Could the Armada Have Succeeded? The Plates (illustrations of seamen and soldiers) Richard Hooks's illustrations (an English demilancer, light horseman, London trained militia men, Low Countries veterans, calivermen, pikemen, deckhands, naval officers, and Spanish musketeers, pikemen, and lancers) are all of high calibre. A fair portion of the text is not even devoted to the Armada battle; but the title of the publication makes it clear that the entire campaign is to be considered. The weaponsmaker and armorer will find this entry to be one of the better in terms of photographs of extant weapons and armor.

135. Tincey, John and Angus McBride. Soldiers of the English Civil War (2): Cavalry. Elite Series. London: Osprey Publishing, Ltd., 1990. **R, T** ISBN: 0-85045-940-0. Mr. Tincey supplies the text and Mr. McBride the color illustrations. This small book will be of most use to fight directors, directors, dramaturgs, actors, costumers, armorers, and weaponsmakers. The text is 63 pages in length, offers 14 black and white photographs, 35 black and white reproductions of period artwork, and 11 color plates (illustrations). Included is discussion on the types of cavalry, including: the lancer, the cuirassier, the harquebusier, the carbine and the dragoon. The reader can see that firearms are already beginning to playa significant role in the effectiveness of the cavalry as early as the third decade of the seventeenth century. But it should be remembered that firearms were still relatively umeliable at this point and the sword and pike were still very important weapons on the battlefield. List of section titles: Cavalry

176

Stage Combat Resource Materials

The Theorists-The Types of Cavalry- Recruiting-Mounting-Training for Horse and Man-Formations-Manoeuvres Cavalry Uniforms and Equipment Weapons and Armour-The Carbine-The Pistol-Cartridges and Powder Flasks-Buff Coats Cavalry in Battle The Royalists-The Parliamentarians- Grand Tactics Dragoons The Theorists-Dragoons in the Civil War- Dragoons in Battle Artillery Further Reading The Plates (color illustrations) Mr. McBride's illustrations of various Royalist and Roundhead cavalrymen are of high quality. The weaponsmakers will find several photographs of extant firearms. The armorers will also find photographs of "Lobster-tail" helmets and cuirasses. There is, unfortunately, only one photograph of a simple cavalry sword. The rapier was used in the early days of the War but was soon replaced with a heavier slashing sword. Still, the swordmakers will enjoy Mr. McBride's illustrations of swords in the color plates.

136. Treece, Henry and Ewart Oakeshott. Fighting Men. New York: G. P. Putnam's Sons, 1963. **B, I, D, V, M, R, T** LCCN: 65-20707. An entertaining and easy-to-read survey on how men have fought down through the centuries. Actors, directors, and fight choreographers will find a wealth of information in these pages. The text contains 266 pages, 127 line drawn illustrations and diagrams, a bibliography, and indices. These two very qualified authors have pieced together an examination of the fighting man that not only imparts staggering amounts of information but does so in a way that frequently smacks of the adventure novel, as opposed to the history text. A chapter will begin with a fictional account of a fighting man caught in a situation where his life is on the line. Once this brief story has caught our attention the authors then move on to a detailed examination of the weapons, strategies of battle, organization of troops, techniques of the fighting man, and quite frequently, a description of an actual campaign or engagement that exemplifies their textual analysis. Henry Treece is a poet, novelist, critic, playwright and broadcaster whose special interests are Celtic history and the Vikings. He is best known for his critically acclaimed novels for adults and children about the Dark Ages. Perhaps most impressive is the chapter examining the Roman soldier. This text is thick with historical data, but is presented in such an entertaining style that one hardly senses the sheer profundity of the information woven into it. Table of Contents: 1. 2.

The Chariots The Roman Soldier

Books

177

3. The Vikings 4. The Heavy Cavalryman 5. The Longbowman 6. Pike and Musket (the Musketeer) The illustrations are line drawings that are done in a very simple style, with very little detail to speak of.

137. Trevino, Rafael and Angus McBride. Rome's Enemies (4): Spanish Armies. Men-af-Arms Series. London: Osprey Publishing, Ltd., 1986. **B, 1** ISBN: 0-85045-701-7. Mr. Trevino provides the text examining the warrior tribes of Iberia (Spain) while Mr. McBride provides the color illustrations of Hispanic and Roman warriors. This will be a very useful text for fight directors, directors, dramaturgs, costumers, and weaponsmakers. This small book is 48 pages in length, offers 23 black and white photographs, 9 line drawn illustrations, 4 maps, 8 color plates (illustrations), and a bibliography. This publication takes as its focus the Iberian tribes which resisted Rome's occupation of what is now Spain, Portugal, and the Basque region about the Pyrenees mountains. The historical portions of the text are informative, interesting and well researched. List of section titles: The Peoples of Protohistoric Spain Social Organisation and Obligations Warfare in Ancient Spain Chronology Impact of the Hispanic Wars on Rome The Campaigns ofViriatus Galba's Massacre-The Death ofVetilius-Fabius' Campaigns-The Death ofViriatus The Numantine Wars The Siege Armour and Weapons Spears-Hispanic Swords-The Falcata Hispanic Cavalry Balearic Slingers The Plates (illustrations of various Hispanic and Roman soldiers and cavalry) Mr. McBride's illustrations capture the essence of the look of the Iberian warrior. This particular entry is unusually heavy with illustrations of early Hispanic sword hilt illustrations which will certainly interest the swordmaker. The discussion includes several campaigns by both the Hispanic tribes (led by Vetilius and Viriatus) against the Roman armies as well as the Roman attempts (led by Fabius) to quell various Iberian rebellions.

178

Stage Combat Resource Materials

138. Tunis, Edwin. Weapons: A Pictorial History. New York: Thomas Y. Crowell Company, 1954. **S, B, I, D, V, M, R, T, E** ISBN: 0-690-01285-3. Mr. Tunis serves as both illustrator and author for this pictorial history of weapons from the Stone Age through the twentieth century. The book will be a useful general resource for fight directors, directors, dramaturgs, actors, armorers, and weaponsmakers. The text is 151 pages in length and offers nearly 300 line drawn illustrations. The Table of Contents makes reference to virtually all of the illustrations and is therefore too comprehensive to reproduce in this annotation. He begins in the Stone Age with such weapons as a stone attached to a string, to be whirled overhead and released at the enemy (a prehistoric forerunner of the sling), and marches forward to the Atomic bomb. The illustrations are all line drawn. The accompanying narrative is informative if somewhat lacking in depth. The style of Mr. Tunis' writing is accessible. Weapons is a fine general resource for the director or dramaturg attempting to gain a cursory knowledge of warfare and weapomy from various historical periods.

139. Turnbull, Stephen. The Book of the Medieval Knight. New York: Crown Publishers, 1985. **M** ISBN: 0-517-55863-7. Mr. Turnbull examines the medieval knight, his armor, and several of the major battles of the fourteenth and fifteenth centuries. The book will be most useful to dramaturgs, directors, and fight directors. The book is 192 pages in length, offers 160 black and white and color photographs, 27 line drawn illustrations, and 2 color paintings commissioned for the book, an index, and references. Mr. Turnbull has chosen to limit his study to battles and sieges which took place during the fourteenth and fifteenth centuries. He discusses the battles at Crecy, Poitiers, Tewksbury, Mortimer' Cross, the War of the Roses, the Hundred Years' War, the Battle of Orleans, and several others. He also discusses the introduction of gunpowder into warfare. Sections are offered on the armor and weapons of the medieval knight. Table of Contents: 1.

2.

3.

4.

A New Arthur The Heir to Misfortune-The Weardale Campaign-Dupplin MoorThe Siege of Berwick-The Battle of Halidon Hill King of England-King of France Homage for Gascony-The French Succession-The Brittany Adventure-The First Battle The Practice of War The Raising of Armies-The Road to Total War-Battle ofCrecyThe Year of Victories-The Power of the Bow-Knights in Armour A King's Ransom The Knight and Discipline-The Tenets of Chivalry-An Ideal World- The Relief of Aquitaine-The Battle of Poitiers

Books 5.

6.

7.

8. 9.

10.

11.

12.

179

The Lion and the Eagle Du Guesclin's Early Life-The Knighthood of du Guesclin- The Siege of Rennes-The Absence of Peace-Cocherel-Battle of Auray-The Curse of the Free Companies-The Spanish Campaigns-The Revival of France-A Little Local Difficulty-Du Guesclin's Farewell Onward Christian Soldiers Knightly Honour-Crusading-14c. Style-The Crusades in Lithuania-Nicopolis-Tannenberg-The Waterloo of the Teutonic Order The Sorcerer's Apprentice The Rise of Lancaster-The Revolt ofOwain Glyndrwr-The Forgotten Invasion The Picardy Affair Agincourt-Henry's Normandy Invasion-The Auld Alliance The Long, Losing War Orleans-The Coming of the Maid-The Companions Fight On- The End of Normandy- Farewell to Aquitaine The War of the Old Men York and Lancaster-The Raising of Armies- The Fretich Connection- The Ludlow Incident-The Old Soldiers Fade AwayThe End at Wakefield-Armour in the Wars of the Roses The Sun in Splendour The Battle of Mortimer's Cross- St. Albans Towton- The Day of Reckoning-The War in the North Castles and Sieges-The Triumph of the Cannon-Crossbows and Armour-Neville versus YorkTewksbury-The Second Towton The Fall of Great Houses Charles the Bold-Edward's Invasion of France-The Destruction of Burgandy-A Crisis for York-Richard III-The End ofBritainyThe Triumph of the Knight

This book offers some beautiful color photographs of several Western European castles. It also offers photographs of various weapons which have survived from the period. The introduction of plate armor and the advent of the chivalric code led to a revitalization of the flower of knighthood. The author is an Englishman, and the book definitely leans heavily toward English history, English battles, and English knights.

140. Turner, Craig and Tony Soper. Methods and Practice of Elizabethan Swordplay. Carbondale, III.: Southern Illinois University Press, 1990. **R**

ISBN: 0-8093-1562-9. This entetaining and informative book will be of interest to the stage combat teacher, the fight director, the director, the actor, and the dramaturg. The book is a trim 139 pages and offers 14 line drawn illustrations from ancient woodcuts, notes, bibliography, and index. Turner and Soper

180

Stage Combat Resource Materials

clarify and explain the techniques advocated in Giacomo Di Grassi's His True Arte of Defence, Vincentio Saviolo's His Practice in Two Books, and George Silver's Paradoxes of Defence and Bref Instructions Upon My Paradoxes, respectively. In each case the spelling has been modernized and punctuation added where necessary for clarity's sake. In drawing from these Elizabethan masters, Turner and Soper are able to paint a vividly clear picture of what they believe an Elizabethan rapier and dagger duel would have been like. The Italians discuss weaponry, footwork, distance (measure), parries (wards), line, rapier and cloak, rapier and dagger, sword and buckler, square and round target (shield), the case of rapiers, single rapier, stance and grip, thrusts, cuts, specialty moves (borte secrete), and seizure/disarms. Mr. Silver discusses "The Dangers of Italian Swordplay," and "Four Imperfections of Italian Swordplay." He also argues the point that in the Italian style swordsmen may be killed by men of small or no skill. Table of Contents: Introduction 1. The Elizabethan Fencing Master 2. The Beginning of the Italian Invasion: Giacomo Di Grassi's True Arte 3. Vincentio Saviolo: His Practice in Two Books 4. The English Reply: George Silver and His Paradoxes ofDefence 5. Elizabethan Swordplay Reconstructed Of particular interest to choreographers will be Chapter Five: "Elizabethan Swordplay Reconstructed." In this chapter Turner and Soper discuss what techniques might have been utilized in a typical Elizabethan rapier and dagger duel and how they might be transferred to the stage. There is not a great deal of new ground covered in this work. If one does not wish to wade through the entirety of the Elizabethan Masters' works, Methods and Practice ofElizabethan Swordplay offers a very succinct overview of these three masters' contributions to the swordplay of the period, as well as an insightful look at the great debate of the age-the thrust versus the cut.

141. Turner, Sir James. Pallas Armata: Military Essayes of the Ancient Grecian, Roman, and Modern Art of War Written in the Years 1670 and 1671. London: Richard Chiswell, 1683; (reprinted New York: Greenwood Press, Publishers,1968). **B, I, R, T** LCCN: 68-54807. Sir James Turner undertakes the imposing challenge of examining the art of war according to the ancient Greeks, the Romans, and during his own day as well. The text will be of interest to fight directors, directors, armorers, weaponsmakers, and actor-combatants. The text is comprised of 3 books published in 1 volume at a length of 371 pages. The text contains a single illustration-a frontispiece consisting of a portrait of James Turner. This is a fascinating study by the seventeenth century military historian James Turner. Table of Contents:

Books

181

BOOK I: MILITARY ESSAYS OF THE ANCIENT AND GRECIAN ART OF WAR. Chapter I: Of the Ancient Militia in General. Chapter II: Of the Armies, and order of War of the Ancients. Chapter III: Of the Election, Levy, and Arms, Offensive and Defensive, of the Grecians. Chapter IV: Of the Great Engines and Machines, of the Training, and Exercising of the Grecians. Chapter V: Of the Grecian Infantry. Chapter VI: Aelian's Marshalling the Grecian Infantry examined. Chapter VII: Of the Grecian Cavalry, and Some observations of it. Chapter VIII: Of the Great Macedonian Phalanx, of its number, and how marshalled; with some bservations of both. Chapter IX: Of the Grecian March, Baggage, Encamping, Guards, and of their Paean. BOOK II: MILITARY ESSAYS OF THE ANCIENT ROMAN ART OF WAR. Chapter I: Of the Ancient Roman Government, and Militia in General. Chapter II: Of the Military Election and Levy of the Roman Souldiers. Chapter III: Of their Arms, Offensive and Defensive, and of their Military Oaths. Chapter IV: Of Sieges, and Defence of Towns and Forts, of the Great Engines and Machines used in them, by the Romans, and other Ancients. Chapter V: Of the Military Exercises, Duties, Burthens, Marches, and Works of the Roman Souldiers. Chapter VI: Of the Roman Infantry, of all its Several Bodies, and their Officers. Chapter VII: Of the Roman Cavalry, and all its Officers. Chapter VIII: Of their Trumpeters, Hornwinders, and of the Classicum. Chapter IX: Of the Roman Pay, Proviant, and of their Donatives. Chapter X: Of a Roman Legion, marshall'd according to Titus Livius, with Lipsius his amendments. Chapter XI: Ofa Roman Legion, marshall'd according to Flavius Vegetius. Chapter XII: Vegetius his Legion reviewed and examin'd. Chapter XIII: Of a Roman Legion, marshall'd according to Polybius. Chapter XIV: Of the Distances and Intervals between the several Bodies and Batallions of the Roman Horse and Foot. Chapter XV: Of the Roman Allies and Auxiliaries, and of the mistakes of some Authors concerning them. Chapter XVI: Of a Roman Consular Army, and of some mistakes concerning it. Chapter XVII: Of a Consular Army, marshall'd in the Field; and of some General Officers belonging to it. Chapter XVIII: Of Several figures of Armies, used by the Ancients in their Bartels. Chapter XIX: Of some Customs used by the Romans, and other ancient Nations, before, in the time of, and after their Bartels. Chapter XX: Ofthe March of a Consular Army. Chapter XXI: Of the Quartering, Encamping, and Castrametation of a Consular Army.

182

Stage Combat Resource Materials

Chapter XXII: Of the Roman Guards, Watches, Watch-word, and Rounds. Chapter XXIII: Of Prisoners of War, Treaties, Parleys, and Articles among Ancients. Chapter XXIV: Of the Military Punishments and Rewards of the Romans, and other Ancient Nations . Chapter XXV: Polybius his comparison of the Macedonian Phalanx, and the Roman Legion review'd. BOOK III: MILITARY ESSAYS OF THE MODERN ART OF WAR. Chapter I: Of the Modem Militia in General. Chapter II: Of Levies, the manner of several Nations in making them, of the Duties of Souldiers when they are levied, of their Age, and how long they are bound to serve. Chapter III: Of Armour, of Defensive Arms, used by Several Nations, both for their Cavalry and Infantry. Chapter IV: Of Offensive Arms, or Weapons, used by the Infantry of Several Nations. Chapter V: Of Offensive Arms, or Weapons, used by the Cavalry of Several Nations. Chapter VI: Master Lutpon's Book against the use ofthe Pike, Dedicated to the Earl of Essex, examin'd. Chapter VII: Of Gun-powder, Artillery, its General, and Train. Chapter VIII: Of Musters, and Muster=masters, of Pay, Proviant, and Servic; of Treasurers, Commissaries, and Proviant=masters, and of the Military Oath. Chapter IX: Of Military Laws and Articles, of Courts of War, of the Judge Marshal, and of the Provost Marshal General. Chapter X: Of Exercising, Drilling, and Training the several Bodies of the Cavalry and Infantry. Chapter XI: Of Companies, Regiments, and Brigades of Foot, what they have been, what they are, how they are marshall'd; of all their Officers, their duties, and qualifications. Chapter XII: Of Troops, and Regiments of Horse, of their Officers, and of Dragoons. An Appendix to this twelfth Chapter. Chapter XIII: Of Felt-marshals, Lieutenant Felt-marshals, Lieutenant Generals, Generals of the Cavalry and Infantry; Major Generals, and Adjutant Generals. Chapter XIV: Ofa Captain General, or Generalissimo. Chapter XV: OfIntelligence, Spys, and ofa General Scout-master. Chapter XVI: Embattelling by the Square root examin'd, and rejected. Chapter XVII: Of the modem way of embattelling and marshalling Armies. Chapter XVIII: Of the Women and Baggage belonging to an Army, of the General Waggon=master, and his Duties. Chapter XIX: Of the March of an Army. Chapter XX: Of Quartering, Encamping, and Modem Castrametation. Of the Quarter=master General, and of the Quarter=master General Staff. Chapter XXI: Of Guards, Watches, Sentinels, Parades, Rounds, and Patrovils.

Books

183

Chapter XXII: Of things previous to a Battel, of a Battel it self, and things after a Battel. Chapter XXIII: Of Retreats Chapter XXIV: Of Several ways to take fortified places, particularly of Sieges; Trenches, Approaches, Redouts, Batteries, Zaps, Galleries, Mines, Storms, and Assaults. Chapter XXV: Of the Defence of fortified places against all manner of Expugnation; of all things necessary for Forts, of Governours, of his duties, and qualifications. Chapter XXVI: Of Prisoners, Parleys, Treaties, and Articles, in our Modem Wars. Chapter XXVII: Of our Modem Military Punishments, and Rewards. Chapter XXVIII: The Comparison made by Justus Lipsius of the Ancient, and Modem Militia, examined. Chapter XXIX: Whether the profession of Souldiery be lawful. It should be noted that the book leans quite heavily toward the logistical. There are hundreds of facts offered about warfare, equipment, armor, drilling, siege tactics, and military organizational patterns of ancient and modem (circa 1679) armies.

142. Umbach, Arnold and Warren R. Johnson. Wrestling. Brown's Physical Activities Series. Dubuque, Iowa: Wm. C. Brown Company Publishers,1966. **H, U** LCCN: 66-21292. This book will be of most use to the fight director who is staging unarmed combat and the stage combat instructor who is involved in teaching unarmed combat. The text is 62 pages in length, offers 1 black and white photograph, and 162 line drawn illustrations of wrestling techniques in various stages of execution. This book may not be as "high-tech" as some of the more current offerings on the subject matter, but the information is solid and the fight choreographer will pick up some very "flashy" moves by studying the techniques contained in these pages. Many of these moves (especially the throws) would require some adjustment to transfer them to stage or film and they would require some sort of mat or padded surface on the stage upon which the wrestlers would grapple, as these techniques were designed with an opponent in mind-not a partner. Table of Contents: 1. 2. 3. 4. 5. 6. 7. 8.

History of Wrestling Getting Fit to Wrestle Emotional Upset in Wrestling Basic Equipment and Rules Fundamental Wrestling Skills Training for Wrestling Courtesies and Strategy The Language of Wrestling (Glossary)

184

Stage Combat Resource Materials

Professors Umbach and Johnson take very little for granted in their little text, and take us through the sport from beginning to end from the courtesies of the mat to the rules of the game, from takedowns to pins, from restraining techniques to trips. Techniques included: Stances-Leg Dive-Double Arm Drag-Heel Pick Up-Head Drag Crossover-Back Heel Outside Leg Trip-Referees Position-Head Lever-Double Bar Arm-Head Lever/Tight Waist-Far Ankle and Near Waist-Groin Ride-Inside Crotch Ride-Reverses and Escapes: Switch-Winglock-Get Out-Hip Lock Escape-Bar Arm and Half Nelson-Crotch and Half Nelson-Chicken Wing and Half Nelson-Counter Drag-Near Wing and Crossover-Elbow Roll This book has much to offer in the way of wrestling and grappling techniques. The instruction is sound and the variety of maneuvers is impressive.

143. Valentine, Eric. Rapiers: An Illustrated Reference Guide to the Rapiers of the Sixteenth and Seventeenth Centuries, and their Companions. Harrisburg, Pennsylvania: Stackpole Books, 1968. **R**

No ISBN available. Mr. Valentine, collector extraordinaire of rapiers, offers a monograph with 42 photographs of the "espada ropera," or what the English anglicized into "the rapier." The text will be of use to the fight director, director, actor, and drarnaturg for its introductory chapter on the history of the rapier. However, it is the swordsmith interested in creating rapiers, daggers, and estocs for the stage and screen who will most benefit from this small publication. The text is 74 pages in length, offers 58 black and white photographs of rapiers, daggers, gauntlets, and pommels. It also offers 4 appendices and a bibliography. Although compiled for the collector of cut and thrust weapons, the photographs (black and white) are formated in a relatively "close-up" point of view, offering a great deal of detail for the swordrnaker. Table of Contents: Plate 1. Spanish Cup-hilt rapier Introduction The Rapier History Plate 2. How the rapier was worn The Estoc-Development of the Rapier-The Rapier Hilt-The Rapier Blade-Authentication and Renovation-Cleaning and PreservationCollecting Rapiers Plate 3. Parts of a rapier Plate 4. Cup-hilt rapier dissembled Plates 5-6. Estocs

Books

185

Plates 7-42. Rapier hilts; swept, ring, ring and plate; cup, dish, shell and allied hilts. Plates 43-52. Left-hand daggers Plate 53. Hilt parts, left-hand dagger and scabbard Plate 54. Dueling gauntlet Plates 55-58. Pommels Appendices: 1. Weights of various types of rapiers 2. Swordsmiths 3. Bibliography 4. List of Museums The list of acknowledgements reads like a veritable "Who's Who" of arms collections: the Victoria and Albert Museum, the Armouries of the Tower of London, the Wallace Collection, the Art Gallery and Museum of Glasgow, and the Metropolitan Museum of Art. Mr. Valentine has received access to an impressive array of weapons for his photographs. He has also shot them isn such detail taht those interested in creating historically accurate weapons for the stage and screen cannot but benefit from his efforts.

144. von Volborth, Carl-Alexander. Heraldry: Customs, Rules and Styles. Poole, Dorset, England: Blandford Press, 1981. **M**

ISBN: 0-7137-0940-5. Mr. von Vo1borth has produced a copiously illustrated text of most use to armorers, costumers, directors, and fight directors. The text is 229 pages in length, offers over 1,100 black and white illustrations, 151 color illustrations, an index, and a bibliography. This book will be most valued for its hundreds of illustrations of various coats-of-arms. According to the inside of the front cover: Heraldry-Customs, Rules and Styles is a lavishly illustrated and extensively researched study of the complex rules and customs governing the international subject ofheraldry...Beginning his study with a concise historical analysis of the reasons for heraldry, the author then gives a clear explanation of the general rules-outlining the historical development and present importance of such matters as the type and position of helm, the use of supporters and the shape and colours of the shield. Volborth discusses Differencing and Cadency, and Marshalling of Arms, and then moves on to a country by country guide to those customs, rules and styles which govern the heraldry of individual groups from artisans to kings. Table of Contents: Introduction An Imaginary Achievement of Arms Introduction in Pictures

186

Stage Combat Resource Materials

Tinctures-Furs The Shield Various Forms of Shield-Divisions and Lines of Partition-Partition and Border Lines; Fields-Ordinaries and Subordinaries-The Cross Charges Human Beings-Parts of the Human Body-Divine Beings, Saints, Religious Symbolism-The Lion-Other Beasts-Fish-The Eagle and the Falcon-Other Birds-The Fabulous Creatures of Heraldry-Sun, Moon, and Stars-Flowers, Trees, Plants, and Leaves-Towers, Castles, and Other Buildings-Ships and Anchors-Weapons. The Helm, Crest, and Mantling Blazon Supporters Augmentations Differencing and Cadency Differencing in the Shield and Crest-Heraldry and Various Nations Marshalling of Arms Burgher-Arms Gentry, Untitled Continental Nobility, Knights, and Baronets Titled Nobility Princes, Dukes, Kings and Emperors Corporate Arms Religious Orders of Chivalry Heraldry in the Roman Catholic Church Heraldry in the Church of England Badges The reader can see that the scope of the text is quite broad, and many of the accompanying illustrations are rendered with great detail.

145. Vuksic, V. and Z. Grbasic. Cavalry: The History of A Fighting Elite. Translated by Srdjan Vujica. London: Cassell Books, 1993. **B, I, D, V, M, R, T, E** ISBN: 0-304-34041-3. Vuksic and Grbasic, both Croatians living in Zagreb, offer this lavishly illustrated survey of the cavalryman from the end of the Neolithic period through 1914. This book will be of interest to the fight director, director, weaponsmaker, and dramaturg. It will probably be of most interest and use to the costume designer. The text is 240 pages in length, offers 100 color illustrated plates, 31 line drawings of cavalrymen from various periods and nationalities throughout the centuries, a list of color plates, and an index. Cavalry describes the history of the soldier on horseback, from the early horse archers of the Middle East to the Italian mounted crossbowmen of the fifteenth century, and from the sixteenth century Muscovite boyars to the 7th U.S. Cavalry. An introductory account of the development of cavalry covers the history of its organization and tactics in different forces throughout the world.

Books

187

The illustrations in Cavalry are the focal point of this text, and truly exceptional artwork it is. The color plates in this text are of a quality similar to that which appears in the Osprey Men-At-Arms series. In most of these plates the cavalryman appears in full regalia, brandishing weapons, and seated on his faithful equine companion. This study is about the cavalryman's horse as much as it is about the soldier who sat atop. Table of Contents: List of Color Plates Introduction Cavalry: History, Tactics and Organization Dominance of the Infantry, 1000 B.C.-A.D. 450 Assyrians-Persians-Graeco-Macedonians-Carthaginians-Roman Empire Cavalry Ascendancy, A.D. 450-1500 Parthians and Sassanids-Goths-Turanian Nomads-Byzantine EmpireArabians-Feudal Cavalry-Mongols-Ottoman Empire Mounted Firearms, 1500-1650 Renaissance of the Cold Steel Strike, 1650-1800 The "Modem" Age, 1800-1900 Epilogue Color Plates The color plates are the work of both Vuksic and Grbasic. The introductory portion of the text, a brief survey of the evolution of the cavalry, offers thirtyone line drawn illustrations. Each of the one hundred color plates is preceded by a page of historical data including nationality, inclusive dates, major political figures and forces at work during the period, major campaigns, description of uniforms; and innovations in armor, uniforms, weapons, and accoutrements for horse and soldier. Costumers will find the plates of high quality, offering detail which is rare indeed, especially when compared to similar publications. List of the warriors appearing on the color plates: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Assyrian Horse Archer-seventh century B.C. Phrygian Heavy Cavalryman-fifth century B.C. Persian Extra-heavy Cavalryman-fourth century B.C. Scythian Horse Archer-fourth century B.c. Macedonian Companion (Heteroi) Cavalryman-c. 330 B.c. Numidian Light Cavalryman-third century B.C. Roman Heavy Cavalryman-first century A.D. Sassanid Cataphract-third century Goth Heavy Cavalryman-end of the fourth century Hun Horse Archer-fifth century Avar-seventh century Carolingian Scola Heavy Cavalryman-ninth century Byzantine Klibanophoros-tenth century Arab (Anda1usian) Light Horseman-tenth century Norman Knight-eleventh century

188 16. 17. 18. 19. 20. 21 . 22. 23 . 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35 . 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62.

Stage Combat Resource Materials Knight-twelfth century Saljuq (Turcoman)-thirteenth century Knight Hospitaller-thirteenth century Mameluke Armoured Cavalryman-thirteenth century Mongol Warrior-thirteenth century Russian Druzynik-thirteenth century French Knight-1370 AD. Destrier-fourteenth century Sergeant-fourteenth century Mercenary in Service of Condottieri- mid-fifteenth century Burgundian Mounted Archer-c. 1475 A.D. Knight in "Gothic" Armour-end of the fifteenth century Knight in "Maximilian" Armour- beginning of sixteenth century Herald-first half of sixteenth century Knight in Tournament Armour-beginning of sixteenth century Spanish Ginete-beginning of sixteenth century German Reiter-mid-sixteenth century Mounted Arquebusier-sixteenth century English Demi-lancer- c. 1550 A.D. Hungarian Hussar-fifteenth-sixteenth century Stradiotti Light Cavalryman- sixteenth century Parade Armour-c. 1560 AD. Turkish Sipahi- fifteenth-sixteenth century Mounted Samurai-sixteenth century Muscovite Boyar-late sixteenth century Wallachian Cavalryman-c. 1575 A.D. Imperialist Cuirassier-c. 1630 AD. Dragoon-c. 1630 AD. Croat-1630 A.D. Swedish Medium Cavalryman- l 632 A.D. Royalist (Cavalier)- 1642 A.D. Ironside (Roundhead)-1645 AD. French Mounted Musketeer-1660 A.D. Polish Winged Hussar-second half of seventeenth century Polish Pancerni-seventeenth century Master of the Horse-c. 1660 AD. Turkish Faris Bajrektar- end of seventeenth century French Line Trooper-1690 AD. Officer, Royal British Dragoons-1685 AD. Austrian Hussar-1688 AD. Iranian Lancer-eighteenth century Mounted Granadier-1705 AD. Bavarian Prince Philip Carabinier-1704 AD. Swedish Trabant-1709 AD. Russian Dragoon-1709 AD. English Guard Trooper- beginning of eighteenth century Cruiassier- 1710 A.D.

Books 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85 . 86. 87. 88. 89. 90. 91. 92. 93 . 94. 95. 96. 97. 98. 99. 100.

189

Saxon Dragoon Drurnrner-1735 A.D. French Gendarme-c. 1750 A.D. Prussian Cuirassier-1756 A.D. Prussian Bosniak Lancer-1760 A.D. Sweedish Hussar-1761 A.D. Tarleton's Light Dragoon-1780 A.D. American Continental Dragoon-I778 A.D. Prussian Porzellan Dragoon-1806 A.D. Polish National Cavalryman-l 794 A.D . Russian Chevaliers-Gardes Trumpeter-1800 A.D. French Grenadier a' Cheval-1807 A.D. Austrian Uhlan-1809 A.D. Brunswick "Black" Hussar-1809 A.D. Hanover Dragoon-1809 A.D. Saxon Garde du Corps-1812 A.D. Colonel of French 7th Hussars-1813 A.D. Nizza Cavalryman- 1848 A.D. Officer of 2nd U.S. Dragoons-1848 A.D. Mexican Lancer-1848 A.D. Dragoon of Scots Greys-l 854 A.D. Texas Ranger-1861 A.D. Hussar, 1st U.S. Hussars- 1864 A.D. French Chasseur d'Afrique-1864 A.D. Hussar of Austrian Legion, Mexico-1865 A.D. Cossack Trumpeter-end of nineteenth century Prussian Cuirassier-1871 A.D. 7th U.S. Cavalryman- l 876 A.D. Nez Perce Indian Warrior- 1877 A.D. British 21st Lancer-1898 A.D. Boer cornrnando-1900 A.D. British Yeoman- 1900 A.D . Turkish Nizam Cavalryman-end of nineteenth century Canadian Mounted Policeman-early twentieth century U.S. Cavalryman-c. 1912 A.D. Bengal Lancer-1914 A.D . Arab Warrior-1914 A.D. Austro-Hungarian Dragoon Officer-1914 A.D. Russian Cavalryman-1914 A.D.

It is rare for a live horse to appear on the legitimate stage. However, they do appear with relative frequency in film. Whether the research is for stage or cinema, the beautiful color plates in Cavalry will be a significant aid in

designing and accessorizing various cavalry uniforms and horse harnesses for several historical periods.

190

Stage Combat Resource Materials

146. Wagner, Eduard. Cut and Thrust Weapons. Translation by Jean Layton. London: Spring Books, 1967. **1, D, V, M, R, T, E** No ISBN avaiable. Drawing considerably on illustrations and narratives from antique European sources such as Talhoffer's Fechtbuch, Knaur's Weltgeschichte, and Hergsell's Fechtkunst, Mr. Wagner weaves a colorful and interesting fabric of anecdote and history. Of particular interest to fight directors, directors, and actors will be Wagner's chapter on the duel. In it Wagner offers us narratives on several duels and a clear discussion on eighteenth and early nineteenth century etiquette when dueling with the blade. Those looking to reproduce period weaponry will value the clarity of the illustrations. Included in the book's 491 pages are 160 line drawn illustrations, and 250 black and white and color plates of weapons. As stated in the foreword, Eduard Wagner, an expert on the subject [of cut and thrust weapons] at the Prague Museum of Military History, offers this survey of "cold weapons; weapons of cut and thrust propelled by the human arm." Although Mr. Wagner tells us in his preface that "the main emphasis is laid on weapons of the eighteenth century and later," it is clear that there is much information in his book that stretches considerably further, even as far as medieval Europe and the end of the Roman Empire. Table of Contents: 1.

2. 3. 4. 5. 6. 7.

Various Kinds of Cut and Thrust Weapons The Protection and Wearing of Cut and Thrust Weapons Wielding of Cut and Thrust Weapons The Duel The Use of the Weapons in Military Combat Amulets-the Exorcizing and Charming of Weapons Technique and Training in the Use of Cutting Weapons 8. The Cut and Thrust Weapon as a Museum Piece

All of the above falls under the general heading of "Introduction." The second half of the book is entitled, "The Descriptions of Cut and Thrust Weapons." It is in this section the reader will find hundreds of color plate drawings of cut and thrust weapons. Section "A" covers such weapons as swords, rapiers, and sabres. Section "B" delves into weapons of individual countries such as Great Britain, Germany, France, Austria, and Russia. Costume designers will also find some very interesting renderings of military uniforms and apparel for various periods. Although this rather hefty publication runs 491 pages, only 100 of those pages could really be considered "text." The remaining pages are devoted to over 250 color plates and careful descriptions of each weapon that appears on each plate.

Wagner, Eduard. Medieval Costume, Armour and Weapons. 147. Translated by Jean Layton. London: Paul Hamlyn, 1958. **M**

Books

191

No ISBN available. Mr. Wagner is listed on the title page as having "selected and illustrated." Mr. Wagner and Jean Layton have also collaborated on another text entitled Cut and Thrust Weapons. The book will be of use to fight directors, directors, drarnaturgs, costumers, armorers, weaponsmakers, and actorcombatants. The textual portion of the book is 72 pages in length. The remainder of the book offers 378 pages of color and black and white illustrations. Mr. Wagner and his collaborators have put together a very informative book which includes hundreds of illustrations of military dress, civilian dress, headgear, armor, cut and thrust weapons, bludgeoning weapons, various bows, shields, footgear, saddles, wagons, banners, flags, artillery, firearms, and catapults. These illustrations do not offer great detail; still, there is more than enough information for the costumer designer, the weaponsmaker, and the armorer engaged in re-creating items for the stage and screen. Table of Contents: Introduction Bohemian Costume from 1350 to 1450 Battle Equipment: Armour Helmets Shields Cut and Thrust and Haft Weapons Projectile Weapons and Siege Machines Firearms Flags and Banners The Horse's Harness and Bardings Wagons List of Sources and Bibliography The Plates The first 72 pages of the book offer essays which will be of interest to the fight director, the director, the dramaturg, and the weaponsmaker. This is a very comprehensive work which serves as a survey. It tends to sacrifice detail in favor of scope. This is a very informative and useful resource, especially for costumers.

148. Walker, Donald. Defensive Exercises; Comprising Wrestling, Boxing, Defence Against Brute Force, By Various Means; Fencing and Broad Sword, with Simpler Methods; The Gun, and its Exercise; The Rifle, and its Exercise. London: Thomas Hurst, 1840. **H, U, M, R, T, E** No ISBN available. This book is on microfilm and can be borrowed from Bowdoin College Library, Brunswick, Maine, 04011. Mr. Walker offers basic principles and techniques (circa 1840) for several defensive art forms, including wrestling, boxing, fencing with the foil, and fencing with the broadsword (cavalry sabre). This book will be of aid to fight directors, instructors of stage

192

Stage Combat Resource Materials

combat, and actor-combatants. The text is 203 pages in length and offers 100 line drawn illustrations. This is one of those wonderful "gems" which gives the reader an intimate look at pedagogy, principles, and technique for several forms of personal defense as advocated in the middle of the nineteenth century. In many instances experts have refined so many of the techniques we take for granted in such sports as fencing, boxing, and wrestling, that they are now only slightly reminiscent of their sixteenth, seventeenth, and eighteenth century predecessors. It is interesting to study earlier incarnations of modem techniques and this publication offers an excellent opportunity to do so. This publication is somewhat ambiguous as to its philosophical base, in that the tone of the book is never quite clear as to whether we are discussing physical education or serious self-defense. In either case, virtually all of the techniques will need to be safely adjusted for the stage. Table of Contents: Measures of Force Wrestling: Cumberland and Westmoreland Style Cornish and Devonshire Style Boxing Simpler Methods of Boxing Methods of Defense Against Brute Force Fencing Broad Sword Simpler Method of Broad Sword The Quintain Throwing The Gun, and its Exercise The Rifle, and its Exercise Appendix: Sketch of the Modem Systems of War Mr. Walker begins with wrestling and examines some of the wrestling styles indigenous to England, such as Cumberland, Westmoreland, Cornish, and Devonshire Styles, the Devonshire style being singled out for note due to its allowance for kicking. The chapter on boxing examines such topics as the utility of boxing, physical qualities of boxing, positions of the body, modes of striking, the most effective blows, guarding, and closing. There is also a section which examines the use of that Irish utilitarian weapon known as the shilelah (cudgeVstick), and the English single-stick. The section on foil fencing is interesting for its nineteenth century terminology and some antiquated techniques which are generally no longer taught in the modem salle des armes, techniques such as the "allonge in quarte" (high septime) and "point volante" (a very vertical tierce with the hilt shoulder high). The section on broadsword technique is entirely in line with the manual published in 1796 by the Adjutant General's office for standardizing the teaching of sabre technique to His Majesty's cavalry forces.

Books

193

149. Warry, John. Alexander 334-323 B.G.: Conquest of the Persian Empire. Campaign Series. London: Osprey Publishing, Ltd., 1991. **B, 1** ISBN: 0-85532-110-6. Mr. Warry follows several campaigns of Alexander the Great as he solidifies Greece under Macedonian rule and expands eastward into Persia. This work will be useful to fight directors, directors, dramaturgs, costumers, and weaponsmakers. The text is 96 pages in length, offers 3 black and white photographs, 50 line drawn illustrations, 21 maps, and 9 color plates (illustrations). Mr. Warry offers a detailed examination of the political and military reasons which led Philip of Macedonia to build an army and attempt to pacify Greece under Macedonian rule. This is the same army which was later to be inherited by Philip's son, Alexander. Under Alexander's inspired command, the Macedonian army was destined to push deeply into Persia and the Middle East. Table of Contents: Persia, Greece and Macedon The Rise of Macedon-Alexander in Charge Armies and Commanders Men and Weapons-War Aims and Strategies The Battle of the Granicus Alexander's Tactics- The First Victory After Granicus The Battle of Issus March and Counter-March-Face to Face-The Tides of Battle After Issus The Siege ofTyre Naval Operations-The Breaching of the Wall-Egyptian Interlude The Battle of Gaugamela The Advance to Gaugamela-Into Battle-Ultimate Victory The Bactrian Years The Battle of Hydaspes Night Operations-The Indian Reaction-The Defeat at Porus Back to Babylon After Alexander Glossary The Battlefields Today Chronology A Guide to Further Reading Wargaming Alexander's Battles The narrative is of the fine quality this series is known for. One high quality color plate offers two Scythian cavalrymen on horseback as examples of the formidable enemy Alexander faced in the regions of the Black Sea. The rest of the color plates appear to have been rendered with color pencil, as opposed to water color. The color and the detail of these illustrations, though adequate, do not quite rank with those which appear in other entries in the Osprey Men-at-

194

Stage Combat Resource Materials

Arms Series. The detailed narratives of various battles and personal combats, including an instance in which Alexander did battle with two brothers and defeated them, is quite interesting. Weaponsmakers will not find many illustrations of weapons in this entry. There are, however, several illustrations featuring siege machinery.

150. Wilcox, Peter and G. A. Embleton. Rome's Enemies (1): Germanics and Dacians. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1982. **B,I**

ISBN: 0-85045-473-5. Mr. Wilcox pens the text while Mr. Embleton produces the color plates of various Germanic and Roman warriors from the seventh century B.C. through the fall of the Roman Empire. The text will be very useful to fight directors, directors, dramaturgs, actors, costumers, and weaponsmakers. The book is a brief but dense 40 pages in length, offers 7 black and white photographs, 33 line drawn illustrations, 4 maps, 8 color plates (illustrations), and a bibliography. A publication which takes as its focus the barbarian tribes centered to the north of the Alps and stretching through what we now refer to as Germany and France. Many of these tribes had mixed with the Celts, but this publication tends to center more on tribes of Teutonic origins. List of section titles: Chronology Introduction The Warrior Of the Warrior Weapons Celtic: Halstatt Culture: 7th century B.C.-Celtic: Late Halstatt: early 5th century B.C.-Celtic: First La Tene Culture: 5th century B.C.-Celtic: Second La Tene Phase: 3rd to 2nd century B.C.-Roman Period: 1st century A.D.-Roman Period: 2nd century A.D.-Roman Period: 3rd century A.D.-Roman Period: 4th century A.D.-Bows-Early SwordsSwords of the Heroic Period-Dacian Arms and Armour Warfare Thracians-Samaritans-The Marcomannic Wars-The Goths-Angles, Saxons, and Jutes-The Empire of Attila-De-Germanising the Eastern Army The Plates (illustrations of various Germanic and Roman warriors) Mr. Embleton offers renditions of Germanic, Dacian, Marcomanni, Quadi, Gothic, Frankish, Anglo-Saxon, and Germanic soldiers of Rome. This particular entry is light on photographs of weapons, but heavy with line drawn illustrations of warriors. The text relies heavily on the writings of several ancient historians including Tacitus, Plutarch, Agathius, and Orosius. Peter Wilcox, in association with illustrator Angus McBride, penned the text for an additional Osprey entry entitled Rome's Enemies (2): Gallic and British Celts.

Books

195

151. Wilkinson, Frederick. Arms and Armour. New York: The Hamlyn Publishing Group Limited, 1978. **S, B, I, D, M, R, T, E** ISBN: 0-600-30359-4. Well-known weapons authority, Frederick Wilkinson, offers a survey of arms and armor from the Stone Age through the twentieth century. The book will be of use to fight directors, directors, dramaturgs, armorers, weaponsmakers, costumers, and actor-combatants. The text is 156 pages in length, offers 80 color and 140 black and white illustrations, a bibliography, and an index.This book traces the development of weapons from the earliest stone hand-axes to the sophisticated automatic weapons of today. It also tells the story of armor, which Mr. Wilkinson-in his introductioninforms uS,"began as a simple wooden shield covered with animal skin, and reached its zenith with the fifteenth century knight who was totally encased in steel..." Table of Contents: The First Weapons The Ancient World The Dark Ages The Early Middle Ages The Late Middle Ages The Seventeenth and Eighteenth Centuries The Nineteenth Century The Twentieth Century The Third World Wilkinson systematically examines the development of arms and armor in each of the several major periods he covers, and then discusses the impact technological developments had on warfare and hand to hand combat. The book offers dozens of representations of battle from both modem and antique art sources. Weaponsmakers will especially appreciate the photographs of extant antiuqe weapons.

152. Wilkinson, Frederick. Swords and Daggers. Bungay, Suffolk, England: Ward Lock Limited, 1972. **B, I, D, V, M, R, T, E** No ISBN available. Swordmakers who are attempting to create historically accurate weapons for the stage and screen will find this an excellent resource as the nearly 200 photographs should give tremendous insight into all types of cut and thrust swords and daggers, with special photographic emphasis on the hilts of the various weapons exhibited. The book is 256 pages in length with 1 color photograph (frontispiece), 187 black and white photographs, 7 line drawings (including 3 diagrams). Several periods, types, styles, and nationalities are represented in this photographic section of the book. Included are photographs of such weapons as pole-arms, rapiers (including swept-hilt, cup-hilt and

196

Stage Combat Resource Materials

combination swept-hilt/cup rapiers (sometimes known as "Pappenheimer" rapiers), broadswords, axes, war-hammers, two-handed swords, falchions, combination cane-sword/pistols, transition rapiers, basket-hilted broadswords, cavalry sabres, several small-swords, schivonas, hunting swords, walkingswords, combination pistol-swords, a staggering variety of oriental edged weapons (from throughout the Orient), and various parrying and stabbing daggers from throughout the centuries. An excellent resource for anyone interested in a detailed look at swords and daggers, both Western and oriental, throughout the centuries. Table of Contents: PART I.-THE TEXT Chapter 1: The Story of Edged Weapons Chapter 2: Oriental Weapons Chapter 3: Techniques of the Swordsmith Chapter 4: Collectors and Collecting Chapter 5: Display and Care Chapter 6: Books and Collections PART II-THE PHOTOGRAPHS Chapter 1: European Weapons Chapter 2: Oriental Weapons The text begins with a brief look at the evolution of the "edged" weapon and the difference between the cut and the thrust. This section begins as early as 3000 B.C. and takes us through the Greek and Roman period into the Saxon and Viking period, the Norman period, the Middle Ages, the fifteenth, sixteenth, seventeenth, and eighteenth centuries and even includes twentieth century entries such as daggers of the Nazi S.S., Hitler's elite corps that wore replicas of what is usually recognized as the Holbein dagger. This book is about pictures194 of them. Wilkinson offers a little historical context but then moves quickly forward to other topics of concern to the collector, such as how various blades are made; what the collector needs to know; what the collector needs to beware of; how to display weapons to their full advantage; and how to care for the weapons once they have been acquired. Wilkinson also provides a bibliographic section (current to 1972): Books Devoted Entirely To Edged Weapons (including out of print or otherwise difficult to obtain books) Books Containing Substantial References To Edged Weapons (also including out of print or otherwise difficult to obtain books) Periodicals Devoted to Edged Weapons Periodicals Containing Occasional Relevant Articles (U.S.A. , Canada, Denmark, Germany, Italy, Sweden, andSwitzerland Collections Of Edged Weapons (U.K., Austria, Belgium, Canada, Denmark, France, Germany, Holland, Italy, Norway, Poland, Russia, Spain, Sweden, and the United States)

Books

197

153. Wilkinson-Latham, Robert. Phaidon Guide to Antique Weapons and Armour. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1981. **M, R, T, E** ISBN: 0-13-661935-5. Mr. Wilkinson-Latham offers a guide to personal armor and weapons of Europe and North America since postclassical times and provides an historical overview as an aid to identification. The book will be quite useful to fight directors, directors, drarnaturgs, weaponsmakers, armorers, and actor-combatants. The text is 256 pages in length offers over 600 black and white and color illustrations, a bibliography, and an index. All of the illustrations were commissioned for the book and were executed by Malcolm McGregor, Peter Sarson, and Tony Bryan. The categories of swords discussed include medieval, rapiers, court and hunting, basket hilts, seventeenth century military, eighteenth century infantry, light cavalry, heavy cavalry, later cavalry swords, swords of other corps, fine or presentation military swords, naval, and unusual swords. The wide ranging categorization of swords featured above is equally applicable to Mr. Wilkinson-Latham's analysis of other weapons and armor. The decorative aspects of weapons and armor are discussed along with construction methods, materials, and utility. Table of Contents: Armour Staff Weapons Swords, Daggers and Bayonets Bows Firearms There is an excellent introductory section to the text which discusses the symbiotic relationship between developments in arms and armor and fighting technique. Each section of the text is prefaced by drawings which define technical terms. There are no actual photographs of extant weapons and armor.

154. Wilkinson-Latham, Robert. Swords in Color. Publishing Co., 1978. **S, B, I, D, V, M, R, T, E**

New York: Arco

ISBN: 0-668-04475-6 (cloth), 0-668-04486-1 (paper). Mr. Wilkinson-Latham has produced a text that will be of most aid to swordmakers involved in reproducing the weapons of antiquity for stage and film, but the publication will be of use to fight directors as well. Included is an index and a list of edged weapons collections. The author begins, quite literally, in the beginning-the Primitive period. He discusses early cut and thrust weapons utilized by ancient man. He then moves into equally informative explorations of the Bronze and Iron Ages, discussing metallurgy, various alloys developed, and smithing practices of the era. He then provides the same examination of the Middle Ages, the Renaissance, and the eighteenth century. All of the discussions are primarily centered on the weapons of the age-as opposed to the way in which they were used. The fight director will enjoy the overall discussion of the development of

198

Stage Combat Resource Materials

the sword through the ages. The 145 plates (color illustrations and photographs) are the highlight of the text. Table of Contents: Chapter 1: Introduction and Early History Chapter 2: The Military Sword Britain, France, Belgium, and Netherlands-Prussia, Germany, and Austria-Russia and Asia-Siam, China, and Japan-India-Denmark, Sweden, and Norway-United States-and South America Chapter 3: Scottish Weapons Chapter 4: Staff Weapons and Lances Chapter 5: Dirks, Knives, and Daggers Chapter 6: Bayonets Chapter 7: Native Weapons Included is a section that gives descriptions of each plate. The photographs in this publication are of such quality that they are well worth the time it takes to read each plate's description.

155. Wilson, Jim and Paul Evans. Commando Fighting Techniques. Boulder, Co.: Paladin Press, 1983. **H, U**

ISBN: 0-901764-56-6. Wilson and Evans offer dozens of unarmed techniques for dealing with armed and unarmed assailants. The text will be of most use to fight directors and instructors involved in staging or teaching unarmed stage combat techniques. The text is 144 pages in length and offers over 600 photographs of techniques in various stages of development. There are dozens of techniques contained in the pages of this book useful to the fight director. However, the fight director will need to carefully select only those moves which can be safely re-created for stage and screen. Table of Contents: Introduction: Basic Ideas Using the Body as a Weapon: Essential Elements Chapter One: Tactics Chapter Two: Techniques and Targets Chapter Three: Blocks and Counters Chapter Four: Chokes and Strangles Chapter Five: Locks and Throws Chapter Six: Throws and Sweeps Chapter Seven: Ground Techniques Chapter Eight: Breakaways and Releases Chapter Nine: Weapon Defenses The focal point of the text is unarmed combat. However, there are some very interesting and useful techniques offered for disarming the assailant armed with gun, knife, or cudgel. Many of the techniques offered can be traced to an Asian martial arts source, but there is nothing particularly "oriental" in these techniques.

Books

199

156. Wilson, John Lyde. The Code of Honor: or Rules for the Government ofPrincipals and Seconds in Duelling. Charleston, So. Car.: James Phinney, 1858; (reprinted by Continental Book Company, Kennesaw, Georgia, 1959). **E**

No ISBN available. Mr. Wilson offers to clarify the Code of Honor and the rules which should govern the behavior of seconds and principals during the period before, during, and after the insult, challenge, and duel. This is a very informative primary resource and will be useful to the fight director, director, actor, and dramaturg. Every serious fight director should, if possible, strive to obtain a copy. The text is a brief 46 pages in length and offers 2 appendices. Although this little book was published in the United States in 1858, it is teeming with the Code Duello and the spirit of the duel. Most of the references are to pistol dueling, however, the punctilio--the insult, the ways in which an insult may be withdrawn or amended, the sending and receiving of the challenge; the choosing of the time, place, and weapons, and the deportment of the seconds and principals during all of the above are firmly rooted in the traditions of the eighteenth century duel. As in The British Code of Duel, the author is careful to make his stance clear on dueling; it is to be the final resort of the gentleman for whom the law and courts offer no solace or redress. We often think of the duel as being an institution peculiar to Europe, but this assumption is far from accurate. Many duels were fought on the North American continent (the researcher interested in dueling in the antebellum South might enjoy the anecdotal stories contained in H. T. Kane's Gentleman, Swords, and Pistols). But Mr. Wilson makes it very clear that dueling was, at the time of printing, flourishing here in the States. Table of Contents: To the Public (Preface) Chapter I: The Person Insulted, Before Challenge Sent. Second's Duty Before Challenge Sent. Chapter II: The Party Receiving a Note Before Challenge. Second's Duty of the Party Receiving a Note Before Challenge Sent. Chapter III: Duty ofChallengee and His Second Before Fighting Chapter IV: Duty ofChallengee and Second After Challenge Sent. Chapter V: Duty of Principals and Seconds on the Ground. Chapter VI: Who Should Be on the Ground. Chapter VII: Arms, and Manner of Loading and Presenting Them. Chapter VIII: The Degrees oflnsult, and How Compromised. Appendix Additional Galway Articles This book is relatively succinct in its presentation of the "code of conduct, " or the "rules" of gentlemanly behavior. The author wants nothing left ambiguous which might lead to a duel not clearly sanctioned by the Code of Honor. An excellent dividend is the appendix, a reprint of the Irish Code of Honor (circa 1777), arrived at "Clonmell summer assizes, 1777, by the gentlemen delegates

200

Stage Combat Resource Materials

of Tipperary, Galway, Mayo, Sligo, and Roscommon, and prescribed for general adoption throughout Ireland." These rules are definitely a product of the eighteenth century and make reference to "unpremeditated rencontres with the small-sword or couteau-de-chasse" (hunting sword). This informative pamphlet is a fine addition to any library on personal combat and the duel.

157. Wise, Arthur. The Art and History of Personal Combat. Greenwich, Conn.: Arma Press, New York Graphic Society Ltd., 1971. **S, B, I, D, V, M, R, T, E** ISBN: 8212-0445-9, LCCN: 70-179957. This is a book that any serious student of personal combat should read. The theatre professional will likewise find a great deal of practical use in Wise's book. Wise draws from various primary resources to give the reader a strong sense of each master's style and contribution to the advancement of the art form and the illustrations, taken from the original publications, speak volumes in and of themselves. Wise packs a great deal of information into his 256 pages. He includes a bibliography, an index, 9 color photographic plates, 49 black and white photographs, and 457 black and white illustrations. To quote Society of American Fight Directors Fight Master, J. Allen Suddeth, "If you could only own one book in your library on personal combat-this should be the one." Choreographers will enjoy the hundreds of period poses offered in the illustrations, directors and actors will enjoy reading about the social mores and dueling etiquette at work in the various epochs discussed, and costume designers can study the various types of apparel worn in personal combat. There is a smattering of photographs of period weaponry, but these are disappointingly few and though the scope of the discussion includes many types of weapons, the photographs are fairly limited to swords and daggers. The swordmaker will see literally hundreds of swords being used in action, but these are in illustrations taken from the publications of Marozzo, Agrippa, Capo Ferro, Angelo, et aI., and are significantly limited in their detail. Mr. Wise begins this meticulous study with the biblical episode in Genesis where Cain slays his brother. He then works through Troy, Greece, Ancient Rome, the Middle Ages, the Renaissance, and the Age of Enlightenment; and he does not conclude his survey until he discusses the fighter pilot and his plane as a weapon. Table of Contents: Chapter One: In the Beginning; Early Attitudes Chapter Two; The Individualists Chapter Three: The Ascendancy of the Sword Chapter Four: Cut or Thrust? Chapter Five: The Supremacy of the Point Chapter Six: Transition Chapter Seven; The Perfection of Theory and Practice Chapter Eight: The Decline of the Sword Chapter Nine: Gun Fighters Chapter Ten: Other Ways to Kill A Man

Books

201

Wise discusses a staggering number of the weapons humankind has developed throughout the centuries utilized in personal combat. Wise's book has several hundreds of reproductions of illustrations that appeared originally in such publications as Lebkommer's Der Allten Fechter, Marozzo's Opera Nova, Agrippa's Trattato di Scienza d'Arme, Alfieri's La Scherma, Angelo's L'Ecole Des Armes, Capo Ferro's Gran Simulacro dell'Arte Uso Schermo, Farbris' Sienz e Practica d'Arme, Hergsell's Die Fechtkunst and Duell-Codex, as well as dozens of other antique publications on the art and science of swordplay. The Art and History of Personal Combat is devoted to the sword and its use in the fifteenth through the eighteenth centuries. Wise also examines the decline of the sword and its replacement by the pistol in matters of honor in the nineteenth century.

158. Wise, Arthur. Weapons in the Theatre. London: Longman's, Green and Co. Ltd., 1968. **B, I, D, M, V, R, T, E** No ISBN available. Weapons in the Theatre certainly has much to offer the practitioner interested in which weapons were used in various periods, how they were used, and how one can integrate fact with fiction to create a fight for the stage. The text is 139 pages in length and includes 16 line drawn illustrations, 8 black and white photographs of various swords, an index, and a bibliography. Mr. Wise usually begins his examination of each historical period with a discussion of the weapons used during that period. He then narrates one, two, or in some cases, three fictitious fights that are an attempt to re-create a combat of the period. He then gives an example of how the information we have available can be coupled with imagination and technique to create a fight for the stage. Mr. Wise presents the argument for historical accuracy side by side with that for "theatrical fitness" and then argues very persuasively in favor of theatrical fitness. He also delves into the Elizabethan psyche and discusses the Elizabethans' preoccupation with the then current controversy raging over the efficacy of the thrust versus the cut. His discussion about cutting the fights from such Shakespearean classics as Hamlet, Macbeth, and Romeo and Juliet is quite humorous. He then explores the more practical aspects of combat for the stage, such as: target areas, attacks, guards, thrusts, cuts, punches, trips, feints, throws, etc. Table of Contents: 1. 2. 3. 4. 5. 6. 7. 8.

The Perennial Complaint (Historical Accuracy vs. Theatrical Appropriateness) The Sheer Mechanics The Possibilities of Violence The Fight in the Theatre Greece and Rome Huns, Goths, Vikings, and Normans Chinks in the Armor: Sen1ac to Bosworth The Age of Elizabeth

202 9. 10.

Stage Combat Resource Materials The Age of Transition: The Seventeenth Century Styled Expediency: The Eighteenth Century

If one takes the time to become intimately acquainted with Mr. Wise's system of fight notation one may visualize and enjoy Mr. Wise's choreography for such fights as might be found in Julius Caesar, Macbeth, Richard III, Hamlet, Romeo and Juliet, Cyrano de Bergerac, and The Beaux Strategem. If one does not learn Mr. Wise's notation, these sections of his book become somewhat problematic.

159. Wise, Terence and Richard Hook. Armies of the Carthaginian Wars 265-146 R.C. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1982. **1**

ISBN: 0-85045-430-1. This particular entry takes as its focus the Phoenicians and the forces which allied with them during the Punic Wars with Rome. The book will be of most use to the fight director, the director, the dramaturg, the costumer, and the weaponsmaker. The text is 40 pages in length, offers 29 black and white photographs, 11 line drawn illustrations, 8 color plates (illustrations), a chronology, and a list of sources. A very concise piece of scholarship coupled with ample photographs and detailed color illustrations. The text begins with a discussion on the origins of Carthage, what peoples made up its armies, and how those armies were raised and financed. List of section titles: Chronology The Carthaginians The Carthaginians and Liby-Phoenicians-The Numidians-The CeltsThe Spanish Troops-Italian Allies-Greek and Macedonian Troops The Romans The Plates (illustrations) The section entitled The Carthaginians explores several of the allied troops either bought (mercenaries) by the Carthaginians, or levied from their domains. The section on the Romans offers a very detailed description of the various elements which made up Roman legions during the Punic Wars. Mr. Wise carefully examines the weapons, armor, tactics, and training of both the Carthaginian and Roman forces. Several photographs of weapons from the period (including the Spanish antecedent of the falchion called the falcata) are offered for weaponsmakers to peruse. This is an excellent source for research on Carthage and Rome. Mr. Wise, in association with illustrator, Angus McBride, has produced an additional Osprey entry entitled The Conquistadores.

160. Wise, Terence. European Edged Weapons. London: Almark Publishing Co., Ltd., 1974. **S, B, I, D, V, M, R, T, E**

Books

203

ISBN: 0-85524-149-7 (cloth), 0-85524-150-0 (paper). This book will be very useful to the fight director, director, actor, weaponsmaker, and dramaturg. The text is an economical 96 pages, and includes 49 line drawings, 50 black and white photographs of nearly 200 weapons, a glossary of terms, a list of selected swordsmiths, and a list of notable collections of arms. Mr. Wise's writing style is very conversational and manages to effectively convey a great deal of important information. Mr. Wise, in the Introduction, succinctly defines the scope of his book: ... while many books tend to concentrate on a limited period of history, most often from the fourteenth or fifteenth centuries onwards when edged weapons had reached or were about to reach the peak of their development, this book endeavors to span the entire history of edged weapons. Wise establishes the historical periods and the weapons associated with them very clearly. He discusses the metals used, smithing techniques, damascening, hilt construction, weapon dimensions, and how the weapon was used in battle and duel. Table of Contents: 1.

2. 3. 4. 5. 6. 7.

The Evolution of Materials Staff Weapons Daggers and Knives Swords Sword Scabbards and Smiths Bayonets Glossary of Terms

There are two types of illustrations offered. The first are line drawings by Mr. Wise, which tend to be of weapons from the Stone Age through the Viking Age. These illustrations are not particularly exciting, but manage to convey the essence of the weapon. The photographs are sprinkled liberally throughout the book. These photographs are of weapons from the Bronze Age through the twentieth century, and are well mounted-though one occasionally wishes they were larger. Weapons pictured include: I.

Bills-Halberds-Poleaxes-Bronze Swords- Viking Swords-Roman Swords-Broadswords-FalchionsScramasaxes-Rapiers-Small-swords- Baskethilts-and Nineteenth and Twentieth Century Military Weapons

Publications on weapons often ignore detailed discussion on the tactics and strategy at work when using the weapon in combat- not so in this instance.

161. Wise, Terence and Gerald Embleton. Medieval European Armies. Men-af-Arms Series. London: Osprey Publishing, Ltd., 1975. **M**

204

Stage Combat Resource Materials

ISBN: 0-85045-245-7. Mr. Wise offers the text while Mr. Embleton pens the illustrations. The book will be of most use to fight directors, directors, dramaturgs, costumers, actors, armorers, and weaponsmakers. The text is 40 pages in length, offers 38 black and white illustrations, 8 color plates (illustrations), and 2 maps. The book begins by discussing the politically and sociologically unstable state of Europe circa 1300-1500 then moves on to discuss the feudal system and how it related to the difficulty of raising a trained and committed army. List of section titles: Introduction Raising a Feudal Army The Mercenaries The First National Armies Organisation The Cavalry-The Infantry-The Artillery-Movement and Supply Tactics The English Longbow-The Swiss Pike-The Hussite Wars-The Condottieri The Plates (illustrations) Mr. Embleton's illustrations offer the fight director, armorer, and costumer a wealth of information. This particular entry offers several black and white photographs of halberd heads and cannon. There are also several black and white illustrations of knights in suits of armor. Mr. Embleton's color illustrations feature: Walter von Hohenklinger (a German knight from the fourteenth century), Guidoriccio da Fogliana (Condottiere), Joan of Are, a spearman, a peasant levy, a crossbowman, a hand-gunner, an English billman, an English bowman, infantrymen, various gunners, a French man-at-arms, Swiss pikemen, a Spanish infantryman, various flags and pennants, and an English archer of the guard. Medieval European Armies serves as an excellent introduction to weapons, armor, and strategy, and tactics of medieval warfare. Mr. Wise is a prolific contributor to the Osprey Men-at-Arms Series. In association with illustrator, Gerald Embleton, he has produced Saxon, Viking and Norman, and with illustrator, Richard Scoggins, he has penned the text for The Knights ofChrist.

CHAPTER 3 ARTICLES 1. "American Pole Arms or Shafted Weapons." The Bulletin of the Fort Ticonderoga Museum, Fort Ticonderoga-on-Lake Champlain, New York, Fort Ticonderoga Museum, 1927, pp. 66-103. **R, T, E**

The Bulletin of the Fort Ticonderoga Museum offers an article on pole arms and shafted weapons which will be of use to weapons-makers and fight directors. The article is 37 pages in length, offers 16 black and white illustrations of military personal and weapons, and 6 pages of black and white photographs of pole arms in the Fort Ticonderoga Museum. This rather substantial article is grounded in dozens of extant specimens in the Fort Ticonderoga Museum. The article begins with a very brief overview of how prehistoric man may have developed the spear or pole arm. The article offers reasonably detailed definitions of various pole arms such as the spear, the dart or javelin, the halberd, the linstock, the partizan, the pike, and the spontoon. There is also some information and photographs offered of native American spears as well. The focus of the article is on pole arms which were either transported to North America in its years of infancy, or weapons which were actually manufactured on this continent. The illustrations are from several paintings, sketches, and drill manuals from the period. There is also some very interesting information regarding the manufacture and use of the pike during the American Civil War. There is also some general logistical information offered regarding the few civil war lancer units which were organized. Similarly, there is detailed information presented on how the Mexicans utilized their Napoleonic-styled lancers during the United States war with Mexico. The techniques described would apply to the use of the lance during the eighteenth century.

206

Stage Combat Resource Materials

2. "A 'Non-boring' History of Stage Combat." The Fight Master: Journal of the Society of American Fight Directors, vol. 20, no. 2, FalllWinter 1997, pp. 10-12. **R, E** Margaret Raether, outgoing editor of The Fight Master, includes this entry as one of her all-time favorite articles in an issue devoted to previously published articles. This article attempts to briefly chronicle the history and development of swordplay on the stage. It originally appeared in the April 1980 issue with no author attributed. It will be of most interest to stage combat aficionados interested in the history of stage combat. It is a brief 3 pages in length and is accompanied by 2 black and white illustrations, 1 of a duel on the beach and another of a group encounter- both apparently from the Renaissance era. This anonymous author begins with a discussion on how "Elizabethan actors probably arranged their own fights ," but quickly moves on to such topics as "Women Take Up Arms" (fights involving women and "breeches roles"), "Actor-Managers" (their training and desire to stage their company' s fights) , "Old Actors Never Die" (instances in which actors directed to die somehow manage to fight on.. .and on.. .and on), "A Law Unto Themselves" (well-known "stars" propensity for dictating what they will and will not do in a fight), "Pound Eights" (or standard routines handed down over the decades), and "A Complete Do-It-Yourself Fight Kit" (standard routines- - and how an actor might find themselves involved in an unrehearsed fight) . This historical and humorous piece concludes with a story about the "Play-Saver." It was this actor's job to run on to the stage, sword in hand at the first sign that an audience's enthusiasm was waning, and say to whomever was on stage, "Ha, I know what you would, but you shall not! Draw and Fight!." At this point the actors would engage in one of the previously mentioned standard combats solely contrived to energize the audience. This is a very informative and amusing article on the origins of stage combat. It offers interesting anecdotes encompassing the work of Henry Irving, Edmund Kean, and other luminaries of the English stage. It also, without stating it explicitly, reminds the reader of how far the stage combat arts have come in the last century. This retrospective issue of The Fight Master also offers the following articles: "Daytime Mayhem: Soap Fight" by J. Allen Suddeth; "How Grand Was My Guignol" by Dr. John M. Callahan; "Working with Errol Flynn" by Paddy Crean; "A Discussion of Sword Nomenclature" by Dennis Graves; "A Conversation with William Hobbs" by Charles Conwell; " 'No, By God, I Won't': The Sheridan/Mathews Duel" by Linda Carlyle McCollum; "Pistols for Two, Tea for One" by Elizabeth Shipley. To obtain issues or subscribe to Th e Fight Master call: 1-800-659-6579.

3. Andrews, Donna T. "The Code of Honour and Its Critics: The Opposition to Duelling In England, 1700-1850." Social History, Great Britain, 1980, vol. 5, no. 3, pp. 409-434. **E** This article will be of most us::: to directors, dramaturgs, and actors. It may offer some insight into the duelist's psychology and a society that was soundly split on

Articles

207

the issue. "The Code of Honour and Its Critics" is heavily weighted with antiduel rhetoric. It is carefully documented and the footnotes can lead directors, actors, dramaturgs, and fight directors directly to articles, publications, sermons, etc. that are contemporaneous with the practice itself. This article and its numerous resources give a fairly accurate account of how a challenge was delivered, who was involved in the duel, and how the duel was facilitated circa 1700-1850 England. Here is offered a very thorough examination of the various movements and organizations dedicated to the abolition of the duel in England. It begins with a brief acknowledgment of the influence of the medieval judiciaVchivalric duel. Andrews then articulates the many difficulties encountered by the various forces attempting to put an end to the practice so firmly rooted in the English upper class.

4. Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Crafts Magazine, Nov.lDec.1981, pp.19 and 66. **S, B, I, D, V, M, R, E** This article will be of primary use to the fight director and weapons-maker. Well known Fight Director, B. H. Barry, speaks out in support of the theatrical weapons constructed by Alan Meek. Barry uses this English sword-maker's wares exclusively (at least as of publication of this 1981 article). Barry stresses the fact that Meek will customize a weapon to the specifications of the client, making the handle/grip, for example, to conform perfectly to the hand that will wield it. Included are nine line drawings of various sword hilts. Fight directors, actors, directors, and designers can all equally benefit from Barry's insights into his craft and the craft of the sword-maker.

5. Ballard, Rae Ellen. "Slings and Arrows-B. H. Barry, Fight Director." Theatre Crafts Magazine, Nov.lDec. 1981, pp. 16-19. **H** This piece is not designed to make a fight director of anyone-yet it does give insight into the domain, the responsibilities, and the concerns of the fight director. Not surprisingly, the article will be of most use to the fight director but will also be of interest to directors and production coordinators who must communicate with the fight director. Included are 11 black and white photographs of actors in Barry staged fights. This article's greatest value lies in its stressing of the basics: costumes, footwear, set design, floor surface, color of set, color of lights, type of weapons, telling story with the fight, etc. Most fight directors seem to agree that a reexamination of the basics, from time to time, is quite healthy for even the most talented of choreographers and instructors. Here the reader finds an article that mingles Barry's approach to staging fights with anecdotal episodes. Barry has for some years now been a mainstay in the New York theatre scene, staging fights for Broadway productions, Off-Broadway productions, and at major regional theatres throughout the United States. He began as a fight director under the guidance of Barry Jackson. B. H. Barry stresses pre-production meetings where communication with the "director, set,

208

Stage Combat Resource Materials

costume, and then lighting designer establish style, period, and mood of a production." Juxtaposition of contrasting movement dynamics, working against the set, awareness of color, weapons selection, costume requirements, footwear, floor surface, reverse energy; all of these, and more, are touched upon in this brief yet densely packed article.

6. Behlmer, Rudy. "Swordplay on the Screen." Films in Review, vol. XVI, National Board of Review of Motion Pictures, New York, June/July 1965, pp.362-375. **M, R, T, E** Mr. Behlmer chronicles the professional exploits of some of the more accomplished directors of swordplay during the Golden Age of the swashbuckler (the 1930s, '40s, and early '50s), as well as the actors they coached and choreographed. This very informative and entertaining article will be of most use to fight directors, directors, and actor/combatants. The article is 13 pages in length and includes 11 black and white photographs of some the fight directors and actors discussed in the article. A "must have" for anyone who ever wanted to know, "Who choreographed that routine?" Henry J. Uyttenhove, Fred Cavens, Jean Heremans, Ralph Faulkner, and Denis Loraineall are discussed within the context of their work. Mr. Behlmer discusses the training and background of the fight director and some of the highlights of their work. Frequently, Behlmer will discuss specific fights which have since gone down in cinematic history. One of the other highlights of this article is Mr. Behlmer's discussion on how a fight director builds a fight. The eleven photographs are not only valuable for their classic "Hollywood corps-a-corps" poses, but also because they frequently depict those unsung heroes of the swashbuckler, the fight director, in a pose while instructing a "star." The article also mentions several instances in which fight directors actually appeared in the films they were working on; as doubles, expendable villains, and as the "fencing master" giving a lesson.

7. Blair, Claude. "A Royal Swordsmith and Damascener: Diego de Caias." The Metropolitan Museum Journal, vol. 3, New York, 1970, pp. 149-198. **R** This article is an excellent source to acquaint the weapons-maker and armorer with the care and artistry lavished on Renaissance weapomy. It is doubtful that this type of detail would ever be put into theatrical weapomy, however, this would be an invaluable source for someone designing and building Renaissance style weapons for film in which close-ups of the weapon would be utilized. The article includes 72 black and white photographs, 3 line drawings, and an appendix. An insightful piece of scholarship that delves into the once revered art of damascening, or etching designs (some filled with precious metals) and illustrations into arms and armor. This particular artist, Diego de Caias (active 1535-1552), was of Spanish origin but was honored with employment by

Articles

209

Francis I and Henry II of France, and Henry VIII of England. Over 70 photographs show the detailed artistry of de Caias on weapons that exemplify the early to mid-Renaissance in England, France, and Germany. Included are a wood-knife belonging to Henry VIII of England, a mace that belonged to Henry II of France, a dagger of Moorish influence known as an "eared dagger," and various rapiers "possibly" by Diego.

8. Bowers, Fredson Thayer. "Middleton's Fair Quarrel and the Duelling Code." The Journal of English and Germanic Philology, University of Illinois Press, Urbana, vol. 36,1937, pp. 40-65. **R** Mr. Bowers examines the concept of the "fair" or just cause for dueling, as opposed to being drawn into a quarrel due to an unjust cause. This concept is considered within the specific context of Thomas Middleton's and William Rowley's play A Fair Quarrel. The fight director, the director, and the dramaturg will find this an interesting article for its analysis of the Code of Honor as practiced in the age of James I of England. Thomas Middleton and William Rowley's A Fair Quarrel (1616) debuted during a period of time when James I was doing his best to stamp out the foul practice of dueling. This 25 page article is an excellent exploration of the problem of the duel in Jacobean England. It seems the authors, Middleton and Rowley, were faced with a problem that was not at all unusual for the period: trying to please their sovereign (who hated the practice) and please their public (which indulged in the practice and attended the theatre) at the same time. It is Bowers's contention that the authors did an excellent job of walking the tight-wire. In other words, they managed to condemn getting drawn into frivolous quarrels without condemning en toto the practice of the active defense of one's honor via the duel.

9. Byrnes, Joe. "Technical Talks." American Fencing, vol. 38, no. 2, San Francisco, Nov.lDec. 1986, pp. 15-16. **H, R, T, E** This article is actually a little difficult to categorize. It deals with the apparent heel dragging of various divisions in the USFL (the United States Fencing League) as far as the implementation of the new 12 kilo punch test for masks used in competition. Many fight directors prefer not to work with masks, as it often instills a false sense of security in actor-combatants. Instead, safety measures are built into the choreography. However, there are also those fight directors and instructors who advocate competitive fencing as part of their overall curriculum for stage combat instruction, as there are skills that are developed in the improvisational environment of sparing, or what is often called "bouting" in fencing circles, that are difficult to instill within the context of choreographed fencing . In such cases, these instructors may be working with traditional fencing equipment such as jackets and masks . Obviously, if bouting is going on in the classroom and masks are being used, then those masks should

210

Stage Combat Resource Materials

meet current USFL safety standards. The article supplies a diagram which illustrates how to apply the punch test to the mask.

10. "The Code of Duelling." Chambers's Journal, no. 177, 18 May 1867, pp.305-08. **E** Chambers's Journal offers this article on the "Code Duello," or the rules governing duelists. The article will be of most interest to fight directors, directors, dramaturgs, and actors. The article was penned in 1867 and makes note of the fact that a mere "quarter century ago 'hostile meetings' were still an institution with us." The overall tone of the article makes it clear that the practice is to be considered abhorrent; however, a clear sense of titillation resonates in the discussion. Before leaping to the heart of the article (the various rules for the governance of the combatants and their accomplices) the anonymous author discusses the difficulty that society had encountered in its attempt to do away with the institution. This article serves primarily to summarize and editorialize on another essay produced by the French press. Apparently, at this time, journalists were having a problem with frequently being called out as a result of their writings. "The Code of Duelling" was given great prominence as, shortly before its release, a brilliant journalist by the name of Dujarier was dropped on the field of honor. The French essay was titled, interestingly enough, "An Essay on Duelling". The purpose of the French essay was to control, if at all possible (since the abolition of the practice could not seem to be accomplished), the way in which affairs of honor were to be settled. Dozens of idiosyncrasies of the Code of Duelling are offered for discussion. This is a fascinating article that removes some of the mystery surrounding exactly how these "affairs of honor" were carried out. 11. Conwell, Charles. "A Museum for the 21 st Century." The Fight Master: Journal of the Society of American Fight Directors, vol. 20, no. 1, Spring/Summer 1997, pp. 23-25. **M, R, E** Professor Charles Conwell, instructor of stage combat at Philadelphia' s University of the Arts, offers this introduction to Her Majesty's Royal Armouries at Leeds Museum, "two or three comfortable hours by train from London." The article will be of most interest to fight directors, directors, dramaturgs, actors, armorers, and weapons-makers. The article is 3 pages in length and offers a black and white photograph of a painting of a cross-section of the museum by aritst, Carl Laubin. The author chronicles his visit to the Leeds Museum, his observations, and discussions with John Waller, Director of Live Interpretation. Mr. Conwell informs the reader of the wealth of information and entertainment which awaits the visitor interested in ancient arms, armor, and combat at Leeds Museum including: some twenty indoor "live-interpretations" (combats) performed by twelve full-time "liveinterpreters" covering the medieval period and the Euopean Renaissance as well

Articles

211

as eighteenth century small-sword, quarterstaff, single-stick, and bare-knuckle fighting. Mr. Waller has choreographed fights in forty-two films commissioned by the Leeds Museum which are shown in theatres and on monitors throughout the site. Integrated into the article is some of Mr. Waller's philosophy and pedagogy regarding the staging of historically accurate fights and battle scenes. This article is an excellent preparation for anyone visiting to the Leeds Museum-a highly desirable experience for any fight director or actor/combatant. This issue of the The Fight Master also features articles on the history of the SAFD and it's National Stage Combat Workshop as well as an article by Mary Shen Bamidge resulting from her observations of fight diretor J. David Brimmer's staging of a knife fight in the 29 th Street Repertory Company's production of The Killer and the Comic. The Fight Master: Journal of the Society ofAmerican Fight Directors is published each Fall and Spring and offers a variety of articles on the performance and teaching of stage combat, the art and history of personal combat, and both historical and stage weaponry. Those interested in past articles or subscribing to The Fight Master should call: 1-800659-6579.

12. Conwell, Charles. "Of Fights and Film; A Conversation with William Hobbs," The Fight Master: Journal of the Society of American Fight Directors, vol. 14, no. 1, Spring 1991, pp. 21-24. **M, R, E**

Professor Conwell chronicles a conversation he had with cinematic fight director, William Hobbs. When not penning articles for The Fight Master, professor Charles Conwell of Philadelphia's University of the Arts, teaches stage combat and freelances as a fight director. This article will be of most interest to fight directors. Hobbs served as fight director for Laurence Olivier at the National Theatre, is author of Stage Fight (1967; reprinted and updated in 1995), and fight director for such films as Richard Lester's Three and Four Musketeers, Ridley Scott's The Duelists, Dangerous Liaisons with John Malkovich, Gerard Depardieu's Cyrano de Bergerac, and Franco Zefferelli's film version of Hamlet, starring Mel Gibson. This article is 4 pages in length with 3 black and white photographs (one production photo from Dangerous Liaisons and one rehearsal photograph from Depardieu's Cyrano). Conwell caught up with Hobbs at his German farm shortly after Depardieu's Cyrano had been released. Hobbs discusses his basic approach to choreographing, As a young fight director Hobbs choreographed and recorded 'every damn move' in advance. Now he prefers to begin rehearsals with just 'an image of the fight. (p. 23) Hobbs goes on to discuss what he thinks makes for a good cinematic fight and situations where he's felt safety was compromised. He relates a story in which he insisted on stopping filming for the day and how neither the director nor the actors liked it-but,

212

Stage Combat Resource Materials It was transparent that the next moment was going to be an accident. There was danger. I could smell it. (p. 23)

A very enlightening article about how the one of the most accomplished choreographers of cinematic swordfights approaches his craft. To obtain past editions of The Fight Master call: 1-800-659-6579.

13. Cook, Brian F. "Footwork in Ancient Greek Swordsmanship." The Metropolitan Museum Journal, vol. 24, New York, 1989, pp. 57-64. **B** Illustrations of actual artwork from the period 460-420 B. C. could be of use in costume, armor, and weapons construction. The fight director will find little of practical use. Included are eight black and white photographs and notes. Brian Cook, Keeper of Greek and Roman Antiquities, The British Museum, offers various speculations on one aspect of Greek swordsmanship--footwork. Mr. Cook makes it clear from the outset that speculation is the best he can offer as there is a marked "absence of supporting evidence from ancient literary sources..." Mr. Cook bases his speculations on ancient Greek sculpture and vase paintings. A fair amount of the text is devoted to what has generally come to be known as the "Hermits' blow." This slashing movement has been named for the posed action of Hermits in the marble statuary group of the Tyrant-slayers best known from a Roman copy in Naples. There is also a portion of the text devoted to discussing the use of the bent versus the straight leg in attack and defense.

14. Craig, Horace S. "Dueling Scenes and Terms in Shakespeare's Plays." Publications in English, Univ. of Calif., vol. 9, no. 1, 1940, pp. 1-27. **R** This article will be of significant interest to the fight director, director, actor, and dramaturg interested in gaining a deeper insight into how Shakespeare wove fencing and dueling references into his plays and how these references resonate in terms of interpreting the scenes in which they appear. Horace S. Craig offers an article which, in his own words: ...has been undertaken in order to explain more fully than has been done before the terms in Shakespeare's plays which have to do with dueling: specifically, (1) to comment on the theory and practice of the duel in the Elizabethan period; (2) to show Shakespeare's technical knowledge by analyzing his use of dueling scenes and terms; and (3), in the light of this knowledge, to explain the passages on dueling in Shakespeare's plays... At the end of the study the "Vocabulary of Elizabethan Dueling and Fencing Terms" lists by act, scene, and line all of Shakespeare's references, no matter how general, to weapons and terms used in Elizabethan swordplay. (p. 1)

Articles

213

Even if Mr. Craig went no further than to offer his "Vocabulary," his article would be of value. Craig discusses how the Italians were the first to rediscover the point and the subsequent spread of their theory and practice throughout Europe. He then discusses the invasion of the "Italienate" school of swordplay (the thrust of the rapier) in England and its inexorable march to supremacy over the traditional cutting (sword and buckler) play of the English Masters of Defence. With the conflict between these two schools and their advocates firmly in mind, Mr. Craig then proceeds to pull out one reference after another to fencing terms which appear in Shakespeare's plays in scenes of combat and in general conversation. Mercutio's comments regarding Tybalt's style of fighting are fully explicated; as are many of the Italian fencing terms he tosses out-such as the "passado," the "punto-riverso," the "hay," etc. The parody inherent in Sir Andrew's challenge to Viola in Twelfth Night is explained. We also discover why Gregory and Sampson, the Montague servants who first enter in Romeo and Juliet are armed with sword and buckler, as opposed to the rapiers which their young masters carry and why it is that Hotspur refers to Prince Hal as "that same sword and buckler Prince of Wales" in Henry IV, Part 1. These and dozens of other obscure fencing terms, which would not have been at all obscure to Shakespeare's audience, are explained to our satisfaction. 15. Crean, Patrick. "Working With Errol Flynn," The Fight Master: Journal of the Society of American Fight Directors, vol. 20, no. 2, FalllWinter 1997, pp. 21-23. **R, T** Yet another entry in an issue of The Fight Master devoted to out-going editor Margaret Raether' a past favorite articles. This particular article, originally published in 1978, is by renowned fight director Patick Crean. Crean has worked for and opposite such luminaries as Laurence Olivier, John Gielgud, Douglas Fairbanks, Jr., and Alec Guinness. Born in England, he has made his home in Statford, Canada and been armorer for the Stratford Shakespearean Festival for many years now. This 3 page article includes 3 black and white photographs-a head-shot of Crean, a publicity shot of Flynn, and a production shot of Crean doubling for Flynn during filming of The Master of Bal/antrae. Patick Crean, the "Dean of stage combat," began as a fight director in England during the 1930s, When I joined the Northhampton Repertory Company in 1934, I learned that my predecessor's contract hadn't been renewed because "although he was extremely popular in town, his talent is minimal." The man whose job I got was Errol Flynn. (p. 21) However, it would not be until 1952 that Crean would actually meet Flynn-and it would be as his double and fight director for The Master ofBal/antrae. This article is primarily concerned with Crean's reminiscences on Flynn. It is notable for bringing some insight into the nature of "doubling," especially within the

214

Stage Combat Resource Materials

context of the old big-budget studio "swashbucklers" which were already falling on hard times even as Crean and Flynn worked on Ballantrae at Palermo, Sicily, in 1952. Ever the gentleman, Crean offers us that which Flynn did in his movies-Flynn's best. Crean tells us of Flynn the chivalrous gallant; Flynn the epitome of the "Hollywood star"-standing on the bow of a launch with golden cigarette holder at a rakish angle-girlfriend and portable bar in tow; Flynn, ever the polished gentleman. For more on the life and times of Paddy Crean read his fascinating autobiography, More Champagne Darling? Other articles offered in this retrospective edition of The Fight Master include: "A Nonboring History of Stage Combat" by Anonymous; "Daytime Mayhem: Soap Fight" by J. Allen Suddeth; "How Grand Was My Guignol" by Dr. John M. Callahan; "A Discussion of Sword Nomenclature" by Dennis Graves; "A Conversation With William Hobbs" by Charles Conwell; and "'No, By God, I Won't': The Sheridan/Mathews Duels" by Linda Carlyle McCollum. All articles in The Fight Master are devoted to disseminating information about the SAFD and fomenting interest in the stage combat arts. To obtain past issues of The Fight Master call: 1-800-659-6579.

16. Darling, Anthony D. "Weapons of the Highland Regiments." The Canadian Journal of Arms Collecting, vol. 8, no. 3, n. d., pp. 76-95. **E** Mr. Anthony offers an article that details the various weapons that were issued by the Hanovarian crown to the Highland regiments raised to do battle with the Jacobites and remained in service for the following four decades. The article is 19 pages in length, offers 21 black and white photographs, 4 appendices, and a bibliography. This article discusses the traditional dress and weapons of the Highland regiments which functioned as independent companies attached to the British army. The focus of the article tends to be on the logistics of the weapomy, but there is also a smattering of anecdotal information on some of the battles of the period. Firearms were already playing a significant role in battle at this point in time. Pictures of some 12 pistols appear along with descriptive passages on those same pistols. There is also a fair amount of information on dirks, targets, and basket-hilted broadswords. Included is a fairly impressive bibliography offering 20 useful references.

17. Davis, Oglivie H. "The Belt Axe." Muzzle Blasts, National Muzzle Loading Rifle Association, Franklin, Indiana, Sept. 1965, pp. 10-11. **E** Mr. Davis examines that very utilitarian tool/weapon of the mid to late eighteenth century in North America, the belt axe. The article will be of use to weapons-makers and fight directors. The article is 2 pages in length and offers black and white photographs which includes 8 tomahawks and 3 axe heads. Mr. Davis begins his article with a discussion of just how prevalent the hatchet or tomahawk was on the North American continent during the Revolutionary War and the French and Indian War (sometimes referred to as the Seven Years' War).

Articles

215

He also informs the reader about where the term "bury the hatchet" came from. Reference is made to some very interesting belt axes, such as the combination belt axe/peace pipe. In this type of belt axe the handle was hollow and the rear portion of the head was actually the bowl of a pipe. Approximately one third of the text is dedicated to detailed description of the various belt axes in the picture.

18. "Dueling in the Time of Brantome." The Quarterly Review, vol. 194, Jul./Oct. 1901, pp. 435-450. **M, R** An anonymous writer comments on the Memoires de Mesire Pierre de Bourdeilles, Seigneur de Brantome. Brantome recounted numerous duels in his memoires. This article will be of most interest to fight directors, directors, dramaturgs, and actors. Quite early our writer comments on the tone of the memoirs: ...A modem commentator is even more struck with the non-moral atmosphere of Brantome's history of duelling. With unruffled cheerfulness he recounts story after story of cold-blooded assassination, thinly disguised by a few artificial formalities. (p. 437) There is much matter here, and all of it touches on dueling and dueling etiquette. Alfred Hutton's The Sword and the Centuries (see the annotation in this bibliography) also contains several encounters from Brantome's tome. This brief article is not only informative but entertaining as well.

19. "'En garde': An Illinois court case has a lesson about stage combat for actors and directors." Dramatics Magazine, The International Thespian Society, Cincinnati, Ohio, Mar. 1987, p. 18. **R** An article that shines the spotlight on that which no fight director or producer likes to think about, a law suit brought about due to an injury onstage during a sequence of staged violence. The article will be useful to the fight director and instructor of stage combat-both of whom need to be aware of the possibility of litigation. This article reports on an incident involving a high school actor playing Paris in a production of Romeo and Juliet who was injured during the tomb scene in 1978. The story then picks up four years later when the former student actor files a suit "for injuries he claimed to have sustained during the accident." David L. Boushey, founder of the Society of American Fight Directors, brought in as an expert witness for the defense, reports concern that the case might have a "chilling effect" on the production of plays that include fight scenes. The article makes a strong case for high school teachers getting proper training before embarking on such ambitious projects-or better still bringing in a qualified expert.

216

Stage Combat Resource Materials

20. Evered, Derek. "A Tactical Course At Sabre." Fencing, British Academy of Fencing, Sutton, Surrey, Apr. 1987, pp. 15-16. **H, M, R, T, E** Mr. Evered offers a series of lessons on competition sabre technique. The article will be of use to fight directors and those engaged in teaching theatrical fencing. The article is 2 pages in length and offers no photographs. Mr. Evered's article qualifies more as an outline, or syllabus. He offers eight lessons as an insight into training fencers with the sabre who have already been firmly grounded in another weapon-either the foil or the epee: First Session: The Head Cut in Attack and Defence. Second Session: The Quinte Parry against the Head Cut. Third Session: The Chest Cut in Attack and Defence. Fourth Session: The Flank Cut in Attack and Defence. Fifth Session: Multiple Choice Exercises-the different responses to a particular sequence of strokes. Sixth Session: How to deal with the straight arm. (Beat, pressure or pris de fertaking of the blade). Seventh Session: Inviting the attack by opening each line in turn. Final Session. Each one of these "sessions" offers specific exercises for the fencing instructor. Each lesson begins simply and moves to complex moves involving compound blade and leg-work. A useful guide for organizing lessons, however, all of the techniques described will need to be adjusted for the stage and screen with safety in mind.

21. Everson, William K. "Stunt Men: They Should Be As Well Known As the Stars For Whom They Often Double." Films in Review, National Board of Review of Motion Pictures, New York, Oct. 1955, pp. 394-402. **H** Mr. Everson offers a retrospect of some of the more prominent stunt men who have graced the screen. The article will be of interest to fight directors and actors interested in achieving a general grasp of what it is a stunt man does, who a second unit director is and what responsibilities accompany the position, and several examples of what have universally come to be acclaimed as some of the better stunts put on film through 1955. The article is 8 pages in length and offers 6 black and white photographs. Mr. Everson focuses on the underappreciated accomplishments of such great stunt men and second unit directors as Yakima Canutt, Cliff Lyons, David Sharpe, Richard Talmadge, Duke York, Herbert Rawlinson, and Reaves Eason. Due credit is given to stunt men who graduated to "star" status, such as Ray "Crash" Corrigan and George O'Brien. Mr. Everson also delves into the various specialties which stunt men work so

Articles

217

hard to perfect. The men discussed in this article literally began the profession and continue to have a significant impact on the stunt industry to this day.

22. Forrest, Kris L. and Peter Story Pentz. "Constructing Broadswords for the Theatre." Theatre Crafts Magazine, Nov.lDec. 1981, pp. 25, 32-34. **H, D, V, M** This article will be of most use to props-makers who are called upon to create broadswords from scratch. This article includes 2 black and white photographs and 1 diagram. Most of the better known armorers (at least in the United States) are utilizing manufactured blades in their broadswords. Since most of these blades are manufactured outside of the U.S. (such as France Lames's blades) it drives the cost of these weapons up considerably. The process described in this article does present a viable alternative for those theatre programs which cannot afford weapons with the "super-blade" manufactured by France Lames, or some similar product. The Denver Center Theatre Company property shop used the occasion of their production of Henry IV, Part 1 to conduct a very intriguing experiment; they constructed all of the broadswords for the production in-house. The sword-makers utilized two differing techniques: 1. They built blades from scratch, and 2. They reshaped blades from manufactured, decorative swords. The article is a detailed description of both processes followed by an equally insightful analysis.

23. Gaugler, William M. "Labat and the Development of the French School, Part I." American Fencing, vol. 38, no. 2, Nov.lDec. 1986, pp. 6-7. **R, T, E** Part one of a two-part series exploring the differences between the French and the Italian schools of fence and the effect Labat may have had on the French school. Some fight directors may find it interesting to compare modem guards and hand positions to those taught in the late seventeenth century by Labat. Gaugler explores Labat's L 'art en fait d'armes (1696) in an effort to determine: 1. How Labat's system of pedagogy differs from that of the sixteenth century Italian masters, 2. How close Labat's method is to that of the modem French school, 3. What we can learn from this historical example. Labat claimed that the French school reformed and augmented the Italian method. The article will be of use to those who are interested in determining what techniques were employed in the seminal years of the French school as advanced by Labat.

218

Stage Combat Resource Materials

24. Gaugler, William M. "Labat and the Development of the French School, Part II." American Fencing, vol. 38, no. 3, Jan./Feb. 1987, pp. 8-10. **R, T, E** William Gaugler's second installment in a series examining the origins of the French school of fence and its relationship to the Italian school. The article will be of interest to fight directors who wish to gain a more complete understanding of the two schools. Two illustrations from Labat's L'art en fait d' armes (1696) accompany the article. Gaugler begins his second article with a discussion on how Labat broke down the "parts of the blade," as compared to some of the Italian masters. He then discusses actions on the blade, such as the coule, croise, liement, envelopement, froissement, and the French school's predilection for fencing with absence of blade. He also points out what he considers to be some inconsistencies in Labat's text as compared to its accompanying illustrations.

25. Gaugler, William M. "The Italian Formula for Success." American Fencing, vol. 39, no. 1, Sept./Oct./Nov. 1987, pp. 22-23. **H, R, T, E** William Gaugler, frequent contributor to American Fencing, offers his thoughts on the Italian method of training Olympic calibre competitive fencers. The article is 2 pages in length and is accompanied by 2 Angelo illustrations. The article will be of most use in teaching theatrical fencing. Mr. Gaugler states: The Italian formula for success is simple: during the course of the lesson the fencer is taught the contrary of every action. In other words, he learns, from the very beginning of his fencing instruction, the relationship between action and counteraction. (p. 22) The author analyzes other strengths and weakness of the Italian method of training, comparing them to American training techniques. Interesting for those involved in training fencers for the stage, especially those who wish to utilize sport fencing when training actor-combatants. Many fight directors believe in the validity of basing theatrical fencing sequences upon adjusted competitive fencing technique. As always, all competitive fencing technique must be adjusted so as to be safe for performance on stage.

26. Goodacre, E. B. "The Duel in 'Hamlet'." The London Times Literary Supplement, 11 Jan. 1934, p. 28. **R** The first entry in a series of four exchanges in The London Times Literary Supplement analyzing Professor Dover Wilson's interpretation of the fencing scene in Hamlet as he writes of it in his introduction to the Shakespeare

Articles

219

Association facsimile edition of George Silver's Paradoxes of Defence. This entry, indeed the entire series of four articles/letters, will be of most interest to fight directors, directors, and dramaturgs. E. B. Goodacre compares the stage directions in the famous scene, as they appear in the First and Second Quartos and the First Folio. The controversy arises over the fact that the stage directions differ as to whether rapiers and daggers, single rapiers, or rapiers and gauntlets are carried on for the fencing contest between Hamlet and Laertes. Naturally, whether rapier and daggers or single rapiers are used has an impact on the "exchange of rapiers" which occurs during the scene. Mr. Goodacre suggests that Professor Dover may have been hasty in rendering his judgment that "in any case the Folio stage-directions are all suspect." Mr. Goodacre suggests that a method of disarm advocated in Sainct-Didier's Traicte (1573)-a single rapier technique-may have been advocated in the First Folio. He even makes us aware of an attempt to reconstruct the duel according to Sainct-Didier. An interesting blend of scholarship, fencing technique, fencing history, theatre history, and performance; interesting enough to lead Professor Dover to respond with a letter of his own, which appeared in the following Saturday's edition of The Times Literary Supplement.

27. Goodacre, E. B. "The Duel Scene in 'Hamlet'." The London Times Literary Supplement, 8 Feb. 1934, p. 38. **R**

E. B. Goodacre's final installment in a series of four exchanges, between Mr. Goodacre, 1. Dover Wilson, and Evan John, regarding possible ways in which the fencing scene in Hamlet might have been staged during Shakespeare's day and those years immediately following. This series of articles will be of most interest to fight directors and directors. A very interesting series of exchanges regarding the "duel" scene in Hamlet which sees fencing technique, theatre scholarship, and fight direction all brought into the discussion. It would be most profitable to acquire all four articles at the same time, so as to examine them together.

28. Grancsay, Stephen. "The Armor of Galiot De Genouilhac." Metropolitan Museum ofArt Papers, no. 4, New York, 1937, pp 1-52. **M**

The

This article is an excellent source for the names of the various parts and sections of the suit of armor as crafted during the time of Francis I of France and Henry VIII of England. Armorers, fight directors, and actors may find the terminology and names of interest. Included in the article are 52 black and white photographs, 7 line drawings, 3 charts, and "Reference Citations." This is a scholarly discussion, in great detail, of the armor of Galiot de Genouilhac (14651546), Grand Ecuyer de France (Master of the Horse). Once bestowed by the King, this honor gave Genouilhac "jurisdiction over all the armorers...(he) could wear a harness similar to that of the King." So detailed is the description of

220

Stage Combat Resource Materials

hundreds of "eye bolts" and "linch-hooks" that all but the most avid researcher would give way to tedium. However, a comparison of the Genouilhac armor to that of King Henry VIII of England reveals some very enlightening similarities. There are several references to the process these dedicated craftsmen utilized in building armor. Tools, materials, and techniques of tempering and layering the metal plates are all discussed. Over fifty photographs give the researcher an excellent view of the suit. Several close-ups allow for an intimate examination of specific pieces. There are also several rubbings of the artwork damascened into the armor; one of the motifs appears to be the labors of Hercules. Armor for Genouilhac's horse is also included in the photographs.

29. Graves, Dennis. "A Discussion of Sword Nomenclature." The Fight Master: Journal of the Society of American Fight Directors, vol. 20, no. 2, FalllWinter 1997, pp. 24-26. **D, V, M, R, T,E** Master armorer, Dennis Graves, pens this article in an effort to bring some continuity to the terms utilized by armorers, fight directors, actors, et aI., when referencing the various parts of the sword. This informative 3 page article offers 4 black and white photographs-2 of which are of rapiers and 1 of which is a small-sword. One of the pictures of a rapier has the individual parts of it labeled. Dennis Graves has been a major supplier of stage weaponry for many years. Such SAFD fight masters as David Boushey, J. Allen Suddeth, and Dale Girard give his work unqualified recommendation. In an effort to quell some of the disagreement regarding the names of the various parts of the sword, Mr. Graves offers this article (which originally appeared in the Fall 1988 issue of The Fight Master). The author addresses some of the reasoning behind the confusion: sometimes three or four names for the same part-in a variety of languages. The labeled diagram of a rapier which Mr. Graves supplies lists several names for each part. Subheadings for the article include: "The Names of the Parts," "Simplifying the Confusion," "Terms From Several Languages, " Weapons Names," "Two-Handed Swords," "The Hilt," "Sword-belts," "Scabbards, " and "The Sword-maker's Craft." An excellent resource for those interested in the many parts that make up a sword and the variety of names those parts are referenced as. This retrospective issue of The Fight Master also includes the following articles: "A Non-boring History of Stage Combat" by Anonymous; " "Daytime Mayhem: Soap Fights" by J. Allen Suddeth; "How Grand Was My Guignol" by Dr. John M. Callahan. To obtain past issues of The Fight Master call: 1-800-659-6579.

30. Hammer, L. "Ralph Faulkner: The Last Swashbuckler." American Fencing, vol. 38, no. 4, Mar./Apr./May 1987, pp. 5 and 6. **M, R, T, E** This article pays tribute to one of the great swashbucklers of Hollywood's Golden Age. There is no technique or "botte secrete" offered here. This article is a well deserved eulogy of one of the great choreographers for the silver

Articles

221

screen-the man who doubled for Errol Flynn, Henry Daniell, Ronald Coleman, Douglas Fairbanks, JI. and countless others. Those interested in the Hollywood swashbuckler's heyday will appreciate this look back. According to Hammer, Faulkner taught up until two weeks before his death on January 28, 1987-at age 95! The early portion of the article examines Faulkner's early days in vaudeville, his early success in silent film, his accomplishments as a (selftaught) competitive fencer in southern California, and his rapid rise on the international and Olympic scenes. Faulkner competed on the 1932 Olympic Sabre squad. It should be remembered that fencing was truly in its infancy in the United States at this time and American fencers had great difficulty keeping pace with the more sophisticated and experienced fencers of Europe. Several of Faulkner's assistants and students, many of whom have done quite well on the international fencing scene, were interviewed and their comments appear in the article. One of them is noted coach Carlos Fuertes. A warm and gentle tribute to one of the greatest swordsman Hollywood has ever known.

31. Holen, Rick. "Outfit an Army for Under $100." Theatre Crafts Magazine, March, 1986, vol. 20, pp.l00, 104-105. **H, D, V, M** This article will be of most use to props-makers. Here is a suggested process for constructing broadswords. The article includes 8 black and white photographs. Holen, who was scenic designer and technical director at Eastern New Mexico University, offers his suggestions on how to handle the problem of producing "20 or 30 swords and daggers to outfit an army that enters stage right and exits stage left." Although the process that Holen details in his article is relatively safe, it produces blades that are not very aesthetically pleasing. The handles, based on the photographs that accompany the article and the description as well, appear to be bulky and are comprised of 1/4" hot rolled round rod that has been welded to the blade with the gaps filled in to produce a solid handle/grip. One wonders how these "spot welds" and the welds that hold the grip together would hold up under the stress of actual combat on the stage. The photos also make it clear that these broadswords and daggers have no pommels. Pommels help to balance the blade and, hopefully, place the balance point somewhere near the quillons (crossbar); with no pommel one must question the balance of the weapon and how controllable it would be in combat. In all likelihood the weapons produced via this process would be best suited, as MI. Holen suggests, for outfitting an army that simply crosses the stage and exits; dressing an army to "appear" armed.

32. Hotson, Leslie. "The Adventure of Single Rapier." Monthly, July 1931, pp. 26-31. **R**

The Atlantic

Fight directors and dramaturgs may enjoy reading about some of the armed encounters which occurred within the London theatrical community. An interesting article which examines the death of one Henry Porter, playwright and

222

Stage Combat Resource Materials

contemporary of Shakespeare. Apparently Porter and another playwright, John Day, for a reason that has yet to be discovered, fought an impromptu duel resulting in the death of Porter. Hotson wonders what caused Porter to suddenly disappear when his star was apparently on the rise . It seems Mr. Porter was indeed done in by John Day. Day was charged with murder, but was subsequently true billed for manslaughter when he pled guilty to self-defense. Hotson has great fun speculating if Porter was actually the personification of one of his characters (Dick Coomes, a serving man) in his only extant play, Two Angry Women of Abingdon. Hotson wonders if Porter may have stuck to the English broadsword while Day adopted the new-fangled rapier play from Italy and Spain.

33. Howard, John T., Jr. "The Bloody Knife." Theatre Crafts Magazine, Nov.lDee. 1981, p. 26. **H, S, B, I, D, V, M, R, T, E** A very brief article, primarily of use to properties personnel, that details how to construct a knife that is capable of discharging stage blood in a thin stream as it is drawn across the palm (or other surfaces). The article includes one black and white photograph of the "bloody knife." This is the system that was utilized so effectively in the gory hit musical Sweeney Todd, the Demon Barber of Fleet Street. It is a simple, yet very effective way to have blood appears while the blade is drawn across the skin in view of the audience. The "reservoir" or "syringe" may vary from instrument to instrument, but this technique has come to be a relatively common solution to solving this special problem.

34. John, Evan. "The Duel in 'Hamlet'." Supplement, 25 Jan. 1934, p. 60. **R**

The London Times Literary

Mr. Evan John wades into the controversy wrought from Professor Dover Wilson's comments on the fencing match in Hamlet, as printed in his introduction to the Shakespeare Association's 1933 printing of a facsimile of George Silver's Paradoxes ofDefence and the subsequent firestorm of letters to the editor of The London Times Literary Supplement. Mr. John's letter is the third of four to be printed in The Supplement and follows letters by E. B. Goodacre and a response to Mr. Goodacre by Professor Dover. Mr. John recaps most of the argument, as already presented by the previous two letters. His notions on this piece of business are centered on the use of the pas d' ane, via a twisting of the wrist, to lock up the opponent's blade in the arms of the hilt.

35. Lattimer, John K. "Sword Hilts By Early American Silversmiths." Antiques Magazine, Feb. 1965, p. 196-199. **E** Mr. Lattimer focuses on some very impressive small-swords and hangers produced in America during the eighteenth century. This article will be of

Articles

223

interest to those engaged in re-creating eighteenth century small-swords and hangers for the stage and screen. The article is 3 pages in length and offers 10 black and white photographs of specimens from the author's personal collection of swords. The focus of this article is on the need for quality American swords and the swordsmiths who eventually .came forth to produce them. Mr. Lattimer is especially interested in the various pommels produced during this period such a lion's head, eagle head, dog head, and cap pommels. There is also some brief discussion offered on scabbards and distinctive sword styles.

36. Marshall, Dorothy. "Fighting the Myth of Meta!." Theatre Crafts Magazine, Nov.lDee. 1981, pp. 20,42,47-48,50-55. **H, D, V, M** Dorothy Marshall offers her suggestions to those armorers who have had the rare opportunity of producing stage armor out of real metal. The article offers 18 black and white photographs and 4 line drawn patterns. This article is the careful recording of an experiment in the use of real metal armor in a production of Shakespeare's Richard III at the Loretto-Hilton Repertory Theatre (which became St. Louis Repertory Theatre). Marshall explains the process and techniques she and her crew utilized to create armor that would support Wallace Chappel's artistic direction and Skip Foster's fight choreography. A very detailed analysis of what was most assuredly a daunting challenge. Dorothy Marshall, along with assistants Dan Roach, Merrell Wiegraffe, and L. B. Blaylock (men's cutter) built suits of "armor for 14 actors: 10 breastplates, 14 helmets, and 86 arm and leg plates. Marshall informs us, "We differentiated between the two armies by painting the armor for Richard's army black and left Richmond's the steel silver." Marshall, the designer, carefully chronicles each step of the process. Many unanticipated obstacles lay in store for Marshall and her crew. Each of these obstacles is faithfully recorded along with the creative solutions arrived at. Of special interest to armorers will be the detailed list of materials and tools utilized.

37. Marshall, Dorothy and Deborah Levin. "Knitting Chain Mail." Theatre Crafts Magazine, Nov.lDee. 1981, pp. 24, 36-38. **H, D, M** This article will be of most use to costumers and armorers. This article serves as a companion piece to Dorothy Marshall's article on making metal armor. The article includes 1 black and white photograph and 1 illustration of construction patterns. It carefully describes the materials and tools utilized in constructing theatrical chain mail for a production. It describes a very frugal, practical, and effective way of creating the illusion of chain mail at low cost, considering the fact that actors have to wear it, move in it, and fight in it. They began with an under-structure of men's cotton two-piece long underwear then searched for a cord-like material "to create texture and yet, flexible enough to knit and to wear" and finally settled on shoe cording. Sections on "Assembling the Chain mail," "Fitting and Painting," "Maintenance," "Evaluation," and "Materials" follow. As

224

Stage Combat Resource Materials

in its companion piece, the "Materials" section gives a concise and detailed list of the various raw materials used, along with prices circa 1981 .

38. Martinez, J. D. "A Tale of Jealousy, Swordplay, and a Certain Italian." The Fight Master: Journal of the Society of American Fight Directors, vol. 13, no. 3, Fall 1990, pp. 16-18. **R** SAFD Fight Master Joseph Martinez offers some insight into what it must have been like for Italian Master of Defence Vincentio Saviolo to teach rapier and dagger play to young aristocrats in Shakespeare's London. This article will be of most use to fight directors, directors, and dramaturgs. Scholars, fight directors, friends of the SAFD, and combat enthusiasts world-wide submit articles for publication in this journal which is published each Fall and Spring by the SAFD. Articles cover a variety of topics having to do with the art and history of personal combat, stage combat pedagogy, profiles of well known swashbucklers and fight directors, book and film reviews, weapons maintenance, and SAFD business matters. Because of the range of enthusiasts who contribute to this publication, the articles also cover a wide range stylistically-from the very scholarly to the very informal. Martinez begins by offering biographical and background information on Saviolo, an Italian gentleman from Padua who set up shop as a Master of Defence in London' s fashionable Blackfriars district sometime after 1578. He also discusses Saviolo's impact on establishing proper "punctillio," or gentleman-like behavior when it came to giving and receiving "insults," and the proper way in which to make and receive a challenge. This brief article also offers a boxed-off section in which English Master George Silver relates a tale intended to impugn Saviolo's honor and paint him a coward. Also included in this issue: "From Timon to Titus, Boushey Marks a Milestone" by Linda McCollum-spotlighting Fight Master David Boushey's career; "Then, As I End the Refrain, Thrust Home" by Charles Conwell-an article relating the accomplishments of the most accomplished Cyrano of the early decades of the twentieth century, Walter Hampden; "Brawl Ridiculous the Name of Agincourt" by Richard RaetherFight Master Raether offers some insight into staging battle scenes based on two recent experiences staging fight scenes for Hemy V. Every article in every issue of this journal is devoted entirely to matters connected to stage combat. Those wishing to obtain past issues of The Fight Master may do so by calling: 1-800659-6579.

39. Martinez, J. D. "Englishman to the Core, Gentleman by Birth, Swordsman by Choice," The Fight Master: Journal of the Society of American Fight Directors, vol. 14, no. 1, pp. 18-20. **R** Fight Master Joseph Martinez continues his string of articles on Renaissance swordsmen with this entry on English Master of Defence, George Silver -author of The Paradoxes of Defence (1599). Martinez begins this article by helping to

Articles

225

understand the chauvinism of the English Masters of Defence and perhaps why they apparently were threatened by such foreign teachers as Vencentio Saviolo. Sliver, unlike many of the other English Masters, was a gentleman; nevertheless, he took strong issue with Saviolo's teaching of rapier and it's thrusting attacks with the point. Martinez speculates " The probability is, judging from the staunch 'Englishness' of his plays, that Shakespeare studied with a bonafide English Master of Defence." He goes on to discuss the English Masters and their failed attempt at stemming the popularity of rapier-play, or "foining." He also suggests the reader turn to Craig Turner and Tony Soper's "excellent" Methods and Practice of Elizabethan Swordplay. Also included in this issue: "Working with Amateurs: Stage Combat Safety for Untrained Fighters" by J. Allen Suddeth; "Of Fights and Film: A Conversation with William Hobbs" by Charles Conwell; "Theatrical Hoplology: A Stage Violence Methodology" by Dr. Robert W. Dillon, Jr.; "Horses, Cannons, Blood Bags Galore, and Lots of Epic Music" by Drew Fracher; "But for Those Vile Guns, He Would Himself Have Been a Solider" by Richard Raether. Those wishing to obtain past issues of The Fight Master may do so by calling: 1-800-659-6579.

40. McCollum, Linda Carlyle. '''No, By God, I Won't': The Richard Sheridan/Thomas Mathews Duels," The Fight Master: Journal of the Society ofAmerican Fight Directors, vol. 20, no. 2, FalllWinter 1997, pp. 3134. **E** McCollum, editor of The Fight Master, draws upon a variety of sources in an effort to chronicle this infamous duel involving one of the stellar dramatists of the eighteenth century English stage, Richard Brinsley Sheridan. The article is a brief 4 pages in length and is accompanied by 5 illustrations-including portraits of Sheridan and his wife, Elizabeth Linley, and a pose from Angelo's The School of Fencing. This article will be useful to anyone interested in anecdotal evidence of eighteenth century sword duels. McCollum has been a major contributor to The Fight Master through much of it's existence. She has lent much academic credibility to this journal on what many consider to be a very practical art form. McCollum, and others like her, have begun to develop a corpus of work lending academic credibility to the topic of combat for the stage and screen. This particular article chronicles the two duels involving well known politician and playwright, Richard Brinsley Sheridan, and one Captain Thomas Mathews. McCollum offers all the necessary background information involving Sheridan's and Mathews' attraction to Elizabeth Linley, daughter ofa well-to-do Bath musician and concert promoter. McCollum spares little detail as she recounts both episodes in which Sheridan and Mathews met and dueled with swords; once in an "upper room engaged at ...the Castle Tavern" and the second time at Kingsdown Hill, near Bath. This second encounter was a particularly brutal and bloody one. A fascinating episode involving one of the foremost dramatists of the eighteenth century English stage who survived these two encounters to go on and pen The Rivals (which takes place at Bath and involves a duel), The School for Scandal, and The Critic. This article originally

226

Stage Combat Resource Materials

appeared in the Spring/Summer edition of 1994. To obtain past editions of The Fight Master call: 1-800-659-6579. Other articles which appear in this retrospective edition include: "A Non-boring History of Stage Combat" by Anonymous; "Daytime Mayhem: Soap Fights" by J. Allen Suddeth; "How Grand Was My Guignol" by Dr. John M. Callahan; "A Discussion of Sword Nomenclature" by Dennis Graves; "A Conversation with William Hobbs" by Charles Conwell; "Pistols for Two, Tea for One" by Elizabeth Shipley.

41. McCollum, Linda Carlyle. "The Fencing School In Blackfriars," The Fight Master: Journal of the Society of American Fight Directors, vol. 16, no. 2, Fall 1993, pp. 29-30. **R** McCollum ponders whether the Italian fencing masters who set up shop in London during the English Renaissance (including Rocco Bonetti, his "boy" Jeronimo, and Vincentio Saviolo) ever actually taught fencing in Blackfriarsand if the possibility exists that Shakespeare's company might actually have come into contact with any of them. The article is 2 pages in length, offers a diagram of Blackfriars, and a drawing representing Saviolo, rapier in hand, poised and ready for action. McCollum takes issue with " recent publication [that] has perpetuated this notion." She maintains that " a close look at the documented evidence raises some serious questions." She then, based on primary evidence, traces the whereabouts of the Italian Masters and delves into the possibilities and probabilities of their having taught in Blackfriars while The King 's Men were in residence. The article also offers a "time-line" which outlines major events in the lives of these three Italian Masters so scorned by the English Masters of Defence. Finally, McCollum reprints a section from George Silver's Paradoxes of Defence which recounts the untimely death of Jeronimo by one John Cheese. Naturally, Jeronimo was using a rapier and Cheese an English broadsword. Also in this issue of The Fight Master: "Pistols for Two, Tea for One"-an excellent article on women and dueling-by Elizabeth Shipley; "Ancient History vs. Modem Practice" by J.D. Martinez; "A Walk on the Dark Side" by Dennis Henneman and Richard Raether; and "A Musketeer History Lesson" by Richard Pallaziol. Those wishing to obtain issues of The Fight Master can call: 1-800-659-6579.

42. McElroy, Mary and Kent Cartwright. "Public Fencing Contests on the Elizabethan Stage." Journal of Sports History, vol. 13, no. 3, 1986, pp. 193211. **R** This article will probably appeal most to those dramaturgs and directors wishing to examine the social milieu surrounding the English Masters of Defence and Shakespeare's theatre. Most interesting is the symbiotic relationship McElroy and Cartwright perceive between the public theatre and the public fencing contests. While the public theatre thrived, the contests thrived; when theatre became more sophisticated and moved inside, they argue that it sounded the

Articles

227

death-knell for the public fencing contests. There is also discussion regarding the "carnavalesque" nature of the fencing contests, or what was known as "playing the prize." The aristocracy had reason to distrust the theatre and it had reasons for despising these public fencing contests as well. In a typical Elizabethan crowd you already had the makings of a riot (by all accounts they were a lively lot that tended to shout, bet, and interact with fencer and actor alike) which always tended to make the ruling elite uneasy. Secop.d, there was the implicit thumbing of the nose at class and authority as a fencer could rise in "class" or "station" through the process of playing for the prize. The authors also look at what the typical Elizabethan public theatergoer would have expected of actors in terms of swordplay on the stage-which was a great deal indeed.

43. Mitchell, Lee. "The Fencing Scene in Hamlet." Quarterly, voI.16, 1937, pp. 71-73. **R**

The Philological

Professor Mitchell, of Northwestern University, comments on J. Dover Wilson's discussion of the fencing match in Hamlet in What Happens in Hamlet (1935) . Professor Mitchell indicates that Professor Wilson may have benefited from the discussion on this scene which appeared in the Times-and the benefits are revealed, at least to the partial satisfaction of Mitchell, in Wilson's What Happens in Hamlet. Mitchell maintains that Wilson's understanding of the scene suffers from his "unfamiliarity with two technical aspects of the problem: (I) fencing, particularly Elizabethan, and (2) staging, i.e., projecting the action of the scene clearly to the audience." Fight directors, directors, and dramaturgs might be amused to follow this controversy from beginning to end. Much ado about nothing? Let the reader be the judge.

44. Nickel, Helmut. "Some Heraldic Fragments Found at Castle Montfort/Starkenberg in 1926, and the Arms of the Grand Master of the Teutonic Knights." The Metropolitan Museum Journal, vol. 24, New York, 1989, pp. 35-46. **M** This article will be of most use to armorers and dramaturgs and will be valued for its photographs and descriptions of the heraldic shields of various Grand Masters. Colors, construction, design, and materials are all examined in some depth. The article includes 19 black and white photographs, 5 line drawings, and notes. Armorers, costumers, and dramaturgs may find this a good supplementary source for shield information on the early Germanic crusaders. Helmut Nickel, former Curator of Arms and Armor for the Metropolitan Museum of Art, has based this article on archeological findings at MontfortiStarkenberg, the strongest castle of the order of the Teutonic Knights in thirteenth century Palestine. The article discusses several of the Germanic groups of knights who were ultimately absorbed into the Deutschordensritter (Teutonic Knights).

228

Stage Combat Resource Materials

45. Norman, A. V. B. "Some Eighteenth Century Civilian Swords." The Scottish Art Review, vol. 12, no. 2, Glasgow, Scotland, 1969, pp. 19-21. **E** Noted arms and armor scholar, A. V. B. Norman, offers a brief article examining shifts in design in the small-sword of the late seventeenth through the eighteenth century. This article will be of use to those who are engaged in re-creating small-swords for the stage and screen. The article is 3 pages in length and offers 5 black and white photographs of small-swords. Mr. Norman chronicles changes in the hilt of the small-sword, the various materials (such as cut-steel and silver) utilized, and the shifts in fashion which exerted influence on the design and manufacture of small-sword hilts during the period 1650-1800. He makes specific reference to the weapons pictured and to additional extant weapons in various arms collections.

46. Pyhrr, Stuart. "European Armor from the Imperial Ottoman Arsenal." The Metropolitan Museum Journal, vol. 24, New York, 1989, pp. 85-111. **M, R** This piece could be of use to those involved in reproducing period helmets and armor. The article includes 45 black and white photographs, 5 line drawings, and notes. Stuart Pyhrr, Department of Arms and Armor, The Metropolitan Museum of Art, offers this explication of several photographs of armor taken by Bashford Dean (the Metropolitan Museum's first Curator of Arms) in 1919-20 while visiting the Turkish Military Museum in Constantinople (modem Istanbul). It seems that several pieces of armor that Dean and his family donated had no real provenance. Recently, photographs have surfaced that support Dean's positions regarding their history and provenance. The primary source of interest for armor historians lies in the fact that so many European pieces of armor were found in an Islamic military museum. Pyhrr offers speculation as to how this may have come about. He also publishes several of Dean's photographs of all types of armor (especially helmets) dating from the fourteenth through the sixteenth centuries. There are also some excellent photographs of "Maximilian" style armor (c. 1477).

47. Roper, William L. "With Cutlass and Sword." The Marine Corps. Gazette, vol. 62, no. 4, 1978, pp. 51-56. **E** This article will be of most interest to directors and dramaturgs. It is a narrative overview of various naval assaults on the Barbary Coast pirates in the early years of the nineteenth century. Included are three illustrations of paintings from the period. This article is included because it also offers information and insight into late eighteenth century naval assaults and commando techniques.

Articles

229

Mr. Roper's article focuses on Stephen Decatur's 1804 "commando" attack on the Barbary Coast pirates at Tripoli. Included is historical background on our political stance with the Barbary pirates and the tribute America and other nations, were paying to avoid having their ships stolen and their crews sold into slavery. The article includes an account of a daring and colorful military expedition and describes some encounters with sword and cutlass on the high seas.

48. Shipley, Elizabeth. "Pistols for Two...Tea for One." The Fight Master: Journal of The Society of American Fight Directors, vol. 20, no. 2, FallIWinter 1997, pp. 35-39. **R, T, E** SAFD actor-combatant, Elizabeth Shipley, explores the concept of honor and the practice of dueling amongst the fairer sex. The article is 5 pages in length and is accompanied by 4 black and while line-drawn illustrations of women involved in both sword and pistol duels. The article will be of most use to fight directors, dramaturgs, directors, actors, and anyone interested in the evolution and development of dueling. Ms. Shipley makes use of several primary resources such as a 1780 issue of West Country Magazine, J.G. Millingen's The History of Duelling, and Ellen Murry's The Code of Honor, in this exploration of how what had traditionally been viewed as a male prerogative (the duel) came to be co-opted by a variety of women-and actually came to be an early issue feminist. Shipley discusses such topics as "The Fear Factor," "Pride and Vanity," "Men's Honor," and "Women's Honor." The author also seasons her article with much anecdotal evidence such as: Mamemoiselle Leverrier and her pistol duel with a young officer who had jilted her; the sword duel between Countess de St. Belmont and a certain impolite office of Louis XIV's cavalry; how the infamous female pirate, Mary Read, insulted and dueled a ruthless pirate, who had challenged her "quiet and delicate" lover to a duel, managing to kill him before he could meet to "slaughter" her lover. Other stories include the astonishing duel between the Parisian actress La Maupin who, while dressed as a man, insulted another woman at a party, was asked to leave, and agreed to if the three men asking her to leave would follow her outside. Once in relative seclusion, she proceeded to challenge and dispatch all three, one after the next. Other duels recounted include: "Mrs. Elphinstone and Lady Almeria" and "The Marquis de Nesle and the Countess Polignac. A very interesting article (originally published in the Fall 1993 issue) on a topic which has had relatively little light shed upon it. Other articles which appear in this retrospective edition of The Fight Master include: "A No-boring History of Stage Combat" by Anonymous; "Daytime Mayhem: Soap Fights" by J. Allen Suddeth; "How Grand Was My Guignol" by Dr. John M. Callahan; "Working with Errol Flynn" by Patrick Crean; "A Discussion of Sword Nomenclature" by Dennis Graves; "A 'Conversation with William Hobbs" by Charles Conwell; '''No, By God, I Won't:' The Sheridan/Mathews Duels" by Linda Carlyle McCollum. Those interested in obtaining past issues or subscribing to The Fight Master should call: 1-800-659-6579.

230

Stage Combat Resource Materials

49. von Bothmer, Dietrich. "Armorial Adjuncts." The Metropolitan Museum Journal, vol. 24, New York, 1989, pp. 65-70. **B** The 8 photographs of extant ancient Grecian ankle guards may be of some use to costumers and armorers. Dietrich von Bothmer, Chairman, Department of Greek and Roman Art, The Metropolitan Museum of Art, adds this piece of scholarship due to an acquisition made too late to be included in Helmut Nickel's Warriors and Worthies (1969), an excellent survey of the Metropolitan Museum of Art's armorial acquisitions. Von Bothmer has determined to apply his attention to a piece of ancient Greek armor that has, in his opinion, been largely ignored: the ankle guard. He speculates on the rarity of discoveries of this type of armor (fewer than 50 have been discovered); theorizes on how it might have been worn, by whom, and possible combinations with other pieces designed to protect the legs.

50. Willers, Johannes. "Armor of Nuremburg." Gothic and Renaissance Art in Nuremburg, 1300-1550, n.d., New York, The Metropolitan Museum of Art, New York and Germanisches National Museum, Prestal Verlag, Munich, pp. 100-104. **M** This scholarly article will be of most use to armorers, fight directors, and dramaturgs. It is offered as part of an exhibition catalogue and examines the armor and master armorers ofNuremburg during the Middle Ages. Included are three richly detailed water and body color illustrations of a jousting helmet of Nuremberg origins. The narrative briefly describes some of the processes involved in making the full-body-armor of the medieval knight including ornamenting and etching. Certain master armorers, notably Herman Grunewalt and his progeny, are discussed at length. It is interesting to note how these brilliant artisans of a "rich and productive craft" were eventually (during the mid to late eighteenth century) absorbed into the plumber's trade. The article is limited in its practical use to armorers, offering more general knowledge about the topic.

51. Wilson, Dover. "The Duel in 'Hamlet'." Supplement, 18 Jan. 1934, p. 44. **R**

The Times Literary

Professor Wilson responds to E. B. Goodacre's response to his introduction to the Shakespeare Association's 1933 printing of a facsimile of George Silver's Paradoxes ofDefence. In that introduction Professor Wilson made reference to the fencing match between Hamlet and Laertes and the how the stage directions differ between the First and Second Quartos, and the First Folio. The article will be of interest to fight directors, directors, and dramaturgs. In his response to Mr. Goodacre Professor Wilson makes it clear that it is improper that all involved

Articles

231

keep referring to the combat as a "duel," as the fight begins as a contest, degenerates into a fight-but is never subject to the clearly defined parameters of a duel. He then discusses the three types of fencing that were then practiced in London. Professor Wilson's letter did not end the exchange. Next to pick up the gauntlet was a Mr. Evan John; his letter appeared in the January 25, 1934 edition of The Times Literary Supplement.

CHAPTER 4 VIDEOS 1. Boushey, David L., producer/instructor. Combat for the Stage: Medieval Weaponry (Segment #1). Seattle, Wash.: Produced by David L. Boushey at Instructional Media Services Television, University of Washington, 1985. **B, I, D, V, M**

This instructional video is an excellent source of information on medieval weaponry and fighting styles for fight directors, instructors of stage combat, actors, and directors. Commenting on the series of three tapes produced by Mr. Boushey, Bruce Madey, chairman and director of the Professional Acting Conservatory at Cornish Institute, Seattle, has the following to say: For producing organizations wishing to improve their fight work or begin the teaching of combat, but unable to afford a personal visit by Boushey or someone of his caliber, these tapes are a godsend... (Dramatics Magazine, May 1985) David Boushey offers this educational video on weapons used during the medieval period. The other two videos in the series cover Renaissance weaponry and unarmed combat. This color video is a "must have" for fight directors and instructors of stage combat. It runs approximately 95 minutes in the VHS format. Those interested in purchasing individual tapes, or the entire series of three tapes, may do so by contacting the following: Combat Video, 2723 Saratoga Lane, Everett, WA 98203 (telephone: 425-290-9973); or Insight Media at 121 West 85th Street, New York, NY 10024 (telephone: 212-721-6316 or 800-233-9910); Theatre Arts Video Library, 174 Andrew Avenue, Leucadia, CA 92024 (telephone: 619-632-6355). SAFD Fight Master, David Boushey, is founder of the Society of American Fight Directors and the United Stuntmen's Association. Through his establishment and fostering of these organizations, he

234

Stage Combat Resource Materials

has had a prodigious effect on the training of actor/combatants, stuntrnen, and fight directors in this country. Mr. Boushey has over three hundred theatre and film credits to date and is the only American fight director to have choreographed the entire Shakespearean canon. He is a double winner of the Los Angeles Critics Award and is currently instructor of combat in the University of Washington Professional Actor Training Program. His television and film credits include Northern Exposure, Twin Peaks, and Blue Velvet. Recently he has also served as sword-master on the television series, Highlander. The video begins with a two minute example of Boushey's work onstage at the Utah Shakespearean Festival involving various pole-arms and sword and shield work. He then offers background information regarding the weapons of the period and the general dependence, at this time, upon strength and agility as opposed to finesse and technique. Outline of the material covered: Introduction (background information on the period and weapons) II. The Broadsword 1. Size and weight 2. Single and two handed swords vs. hand-and-a-half sword 3. How to grip the sword 4. Stance 5. Fencing measure (distance) 6. The importance of warming-up III. Eye Contact 1. Constant vs. intermittent (cueing and targeting) 2. Partnering (eye contact as a form of communication) IV. Targeting 1. On vs. off-line 2. Distance as the safety factor V. Thrusting and Parrying with the Broadsword 1. 6-8 inch safety margin 2. On-line targets (high and low lines, inside and outside lines) 3. Basic parries 4. Parts of the blade VI. Cutting 1. Targeting 2. Reversing energy 3. Efficient use of energy 4. Parries (high, mid, and low lines) VII. Beats 1. With the guard 2. With the blade 3. The corps-a-corps (body to body) VIII. Throw Offs 1. Feigned energy (acting intention) 2. Binds 3. Introduction to the action-reaction-action principle (a form of cueing)

Videos

235

Targeting off-line when distance/measure closes quickly (the running attack) IX. Pommel Attacks I. The pommel for balance and attack 2. Various attacks with the pommel utilizing action-reaction-action X. Moving/Legwork I. En guarde (on guard) stance 2. Passing movement (the pass/the passado) XI. Disarms I. By pulling, kicking, kneeing, beating, leverage, binding, and stepping on the weapon XII. Kills and Wounds 1. Place and pull 2. Trajectory of the cut 3. Thrust kill 4. The "Geld" 5. Throat cut XIII. The Shield 1. Stance 2. Clear line of vision 3. Glancing blows and angling the shield 4. Shield as a weapon XIV. The Quarterstaff I. Cost factor 2. Pole-arms 3. Cuts and parries 4. Legwork/moving XV. Choreography and the Fight Director 1. Essential attributes of the fight director 2. Fifteen (15) do's and don'ts for the fight director-including communicating with the production staff, the actors, group fights, and notating the fight. XVI. A Broadsword Fight I. Presentation of the fight at speed 2. Presentation of the fight in slow motion with commentary by Mr. Boushey XVII. Conclusion 1. Balancing safety and realism 2. Partnering 3. Eleven (11) safety factors to consider 4.

Mr. Boushey explains his techniques in a fashion which is accessible, entertaining, and safety conscious, which greatly enhances the viewer's sense of confidence. Mr. Boushey's assistant, Mr. Robert MacDougall is a movement specialist in his own right, exhibiting control and a fine sense of swordsmanship coupled with acting skills. To quote from the same issue of Dramatics

236

Stage Combat Resource Materials

Magazine, May 1985, the extensive use of slow motion and stop action allows for careful analysis of movement, emphasizing safety techniques and realism. ..

Though produced in 1985, Boushey's videos continue to be among the most instructional videos on stage combat available. Mr. Boushey's professional experience shines through and the sheer volume of information is most impressive. Mr. Boushey warns that no one can become a proficient actorcombatant by simply watching a tape. These tapes are designed as an instructional aid and are not intended to replace study with a competently trained instructor.

2. Boushey, David L., producer/instructor. Combat/or the Stage: Elizabethan Weaponry (Segment #2). Seattle Wash.: Produced by David L. Boushey at Instructional Media Services Television, University of Washington, 1985. **H, R, T, E** For biographical information on Mr. Boushey, information on obtaining his instructional tapes, and critical commentary on his series of three tapes, the reader should see the annotation on his first segment, Combat for the Stage: Medieval Weaponry. An outline of the material contained in segment two follows : 1.

II.

III.

IV.

V.

Introduction I . Rapier versus the broadsword 2. Italian versus the English style 3. The English Masters of Defense 4. The evolution from rapier and dagger to the transitional rapier and the small-sword The Rapier and Dagger 1. Presentation of replicas (swept hilt, dagger, and buckler) 2. Presentation of stage rapier (cup hilt) a. Blade parts b. Hilt 3. Grip (how to hold the weapon) 4. Stance 5. Warm-ups (focus on the legs) 6. Measure (fighting distance) Eye Contact 1. Constant vs. intermittent (cueing and targeting) 2. Partnering (letting your partner and the audience know where the attack is going) Targeting 1. On vs. off-line targeting 2. Distance as a safety factor Thrusting

Videos 1. Targets 2. Parries 3. Acting the tension 4. Nothing above "the (arm) pits" VI. Cutting 1. Targets 2. Parries 3. Diagonal cuts (reads as cheek cut) 4. Pulling the energy VII. Special Moves (Preparations) 1. Disengage 2. Coupe 3. Froissement (taking of the blade) 4. The "beat" VIII. Adding the Dagger 1. Parries (same side; opposite side) 2. Cross "X" parries 3. Gathering the blade 4. Corps-a-corps (body to body) a. Various lines with single rapier b. With the "bind" c. With the "bind and throw ofr' 5. Double weapon binds a. Bind over b. Bind off c. Throw off IX. Running Attacks 1. Attacking off target 2. Volte 3. Safety factors built in but invisible X. Single Rapier 1. Hilt beats 2. Throw offs 3. Double 4. Riposte 5. Ballestra (the hop-lunge) 6. The left handed fencer 7. Pattinando (step-lunge) 8. The hand parry (and the jam) 9. Tripping 10. Choking (lifting the chin) XI. Pommel Attacks 1. Avoiding the face 2. To the stomach 3. To the back 4. Over the head XII. Action-Reaction-Action

237

238

Stage Combat Resource Materials

1. Preparation/reaction/attack 2. Eye contact 3. Cuts to the head, stomach, and foot XIII. Moving/Legwork 1. Advance and the lunge 2. Parallel movement (by the partner) 3. Passing step 4. Circular patterns XIV. Disarms 1. Grab and pull 2. Kicks 3. The knee 4. Volte and beat 5. Pommel (wrist to wrist) XV. Kills and Wounds 1. Laying on and dragging through 2. Receiving the thrust 3. Blade trajectory XVI. The Small-sword 1. Point orientation 2. Guards and stances 3. Use of the left hand 4. Rapier specialty moves XVII. Dagger Attacks 1. Distance; find the measure 2. Action-reaction-action 3. Underhand grip vs. overhand grip 4. Avoiding the face 5. The wound and the kill XVIII. Choreography and the Fight Director 1. Fifteen (15) do's and don'ts for the fight director XIX. A Rapier and Dagger Fight 1. At performance speed 2. Slow motion with blow by blow commentary by Mr. Boushey Xx. Conclusion 1. Balancing safety and realism 2. Partnering 3. Eleven (11) safety factors to consider 4. Panache!

3. Boushey, David L., producer/instructor. Combat for the Stage: Unarmed Combat (Segment #3). Seattle, Wash.: Produced by David L. Boushey at Instructional Media Services Television, University of Washington, 1985. **H, U**

Videos

239

For biographical information on Mr. Boushey, information on obtaining his instructional tapes, and critical commentary on his series of three tapes, the reader should see the annotation on his first segment, Combat for the Stage: Medieval Weaponry. An outline of the material contained in segment three follows: I.

Introduction 1. The nature of unarmed combat II. The Slap 1. Forehand slap (non-contact); attacker supplied knap (sound) a. Combat and magic (misdirection) 2. Forehand slap (non-contact); shared knap 3. Backhand slap (non-contact); victim supplied knap 4. Forehand slap (non-contact); victim supplied knap 5. "Real" slap (forehand) III. Punches 1. "John Wayne" punch (slip hand knap) 2. "Cross" (victim supplied knap) 3. "Cross" (attacker body knaps) 4. Stomach punch (non-contact) 5. "upper cut" (attacker supplied knap) 6. Head lock and hook punches to the face 7. "Jab" (victim supplied knap) 8. "Rabbit" punch (shared body knap) 9. "Double rabbit punch" (shared knap) 10. Using angle and lack of depth perception IV. Elbow Attacks 1. To the stomach (left and right elbows) a. Acting intention 2. To the back V. Judo/Karate Chops (Knife Hand Attacks) 1. To the back of the neck (upper back) a. Forehand b. Backhand 2. To the throat (upper chest) a. Forehand b. Backhand VI. Chokes 1. Two handed (front) 2. With the forearm 3. Reversing the energy VII. The Face Scratch 1. With the pads of the fingers 2. On the fleshing part of the cheek a. Areas of the face to avoid b. "Ripping" VIII. Hair Pulling

240

Stage Combat Resource Materials 1.

From the stand still a. Victim throws head back 2. Moving a. Victim applies the safety grip 3. Lifting the victim from the ground by the hair IX. Controlling Energy 1. Shoves 2. Head slams 3. Attacks to the head with objects X. Knee Attacks 1. To the face 2. To the stomach XI. Kicks 1. To the stomach (non-contact) 2. To the face, kneeling (non-contact) 2. To the stomach on "all fours" (contact) a. Kicking to the abdominal muscles b. Reversing the energy 4. To the stomach on "all fours" (non-contact) a. Attacker supplied knap 5. Face kick on "all fours" a. Kicking to cupped hands b. Kicking away from the face c. Tilting the foot 6. Standing face kick 7. Kick to the chest while victim is on the ground 8. Martial arts kicks a. Front side kick b. Hitch/scissors kick c. Crescent kick 9. Kicks to the crotch area a. In profile b. The kick to the buttock XII. Rolls 1. Right shoulder roll 2. The "Irish Whip" 3. Over the shoulder from the back choke 4. From a run 5. Overhead throw a. Feet on the pelvic bones XIII. Falls 1. Forward fall 2. Backward fall 3. Feinting 4. Tripping (heel hook) 5. Foot shove XIV. Throws

Videos

241

1. Out of heel hook trip 2. "Hip roll" XV. Lifts and Carries 1. Fireman's carry 2. "Back-breaker" XVI. Choreography 1. Fifteen (15) do's and don'ts for choreographers XVII. An Unarmed Fight 1. At performance tempo 2. Done in slow-motion with blow-by-blow commentary by Mr. Boushey XVIII. Conclusion 1. Balancing safety and realism 2. Partnering 3. Eleven (11) safety factors to consider 4. Have fun!

4. Hoff, Michael and Natan Katzman, executive producers. Deadly Duels. A Non Fiction Presentation of a Michael Hoff Productions and an A La Carte Communications Production, 1996; Art and Design: Fox Lorber Associates, Inc., 1997. **D, V, M, R, E** Michael Hoff also serves as director for this three tape video series on the evolution of dueling in Europe and America:

Duels ofChivalry (ISBN: 1-57252-073-6) Duels ofHonor (ISBN: 1-57252-074-4) Dueling in the New World ( ISBN: 1-57252-075-2) This video serves as an excellent introduction to the origins, development, and decline of dueling in Europe and America. This series of three video tapes, originally aired on The Discovery Channel, will be of interest to fight directors, directors, actor/combatants, dramaturgs, costumers, and weapons-makers-a highly informative resource useful to a wide variety of personnel. Each tape runs approximately 50 minutes in the VHS format. The entire 3 tape series (or individual tapes within the series) may be obtained through Virgin Records in New York City (telephone: 212-921-1020 or 212-332-0400). This set of three video tapes, narrated by noted actor Stacey Keach, is similar in style to a variety of programming produced by The Learning Channel, The Discovery Channel, and The History Channel. The production values are relatively high in that careful attention has been paid to finding appropriate locations, procuring respected scholars to serve as commentators, locating primary print sources and artwork, creating historically accurate costumes and weaponry, as well as engaging qualified fight directors to stage a variety of reenactments of notorious duels (albeit several of them are shot in some stylized fashion such as slow motion or in the jerky "MTV" type style involving skipped frames) . The historian or dramaturg will, undoubtedly, find the wealth of information offered

242

Stage Combat Resource Materials

of significant use. The fight director may long for more and lengthier fight sequences and a respite from the "talking-heads" which comment throughout. Still, all in all, a fine resource which attempts to encompass the entirety of the Age of Dueling. The three videos include:

TAPE J: DUELS OF CHIVALRY The first entry in the series:

"...covers approximately one thousand years in the development of the duel. It begins in the sixth century BC and extends into the sixteenth century. This installment focuses on duels during the Age of Knighthood. It begins by exploring the origins of the duel in the Teutonic tradition of "trial by combat" and moves forward through the decline of knightly chivalry and the birth of the modem gentleman." (Promotional Material) Famous duels discussed and, in some cases, reenacted include but are not limited to the following: 1. 2. 3.

From Sweden, the vicious Holmganga knife duel The absurd duel between Chevalier Maquer versus Mondidier's dog La Chastaigneraye, the finest French swordsman of the time versus Jamac, and the origin of the "coup de Jamac"

This first installment will be of interest to those who wish to gain insight into the broadsword and shield style of combat prevalent during the Dark and Middle Ages as well as into the Chivalric Knight, his protective suit of armor, and the variety of weapons he employed. TAPE 2: DUELS OF HONOR The second entry in the series explores,

"...the ancient values and ethics of combat expressed in the new codes of fencing throughout Europe, from the sixteenth century Renaissance through today. It discusses the genesis of the challenge or "cartel," the choosing of seconds and their government and responsibilities, the crafting and selection of swords and pistols...how duelists fought and how they died." (Promotional Material) Dramatic segments include, but are not limited to, the following: I.

A reenactment of the famed duel between Barons Von Ropp and Trautmansdorf in which Trautmansdorf unwittingly kills the object of his affection when she becomes involved in the duel by attacking him-while disguised as a man

Videos 2.

3.

4.

243

The deadliest duel "au mouchoir," a duel fought with a pistol in the right hand and the left hand holding a shared handkerchief, a single yard apart Duels of today, young men in Austria continuing the amazing tradition of the Mensur, the bloody student duel Also contained in this segment is a reenactment of the famous duel involving the actress La Maupin and how she defeated three challengers-killing all three-following an incident at a party where she appeared dressed as a man and insulted a woman's honor

This second entry will be of most use to those interested in the rapier and dagger duels of the European Renaissance and the small-sword duels of the eighteenth century. TAPE 3: DUELING IN THE NEW WORLD Attempts to capture,

"...the spirit of the European aristocrat warrior reincarnated in the United States as Southern gentlemen and outlaws of the Wild West...see how throughout e history, politicians, poets, soldiers, editors, and even doctors dueled and often died proving their courage." (Promotional Material) Bizarre and politically charged duels include but are not limited to the following: 1. 2. 3. 4.

The pistol duel between Vice President Aaron Burr and former Secretary of State Alexander Hamilton The match between future president Andrew Jackson and famed duelist Charles Dickenson The infamous and bloody melee involving Jim Bowie and his famous knife on the Vidalia sandbar near Natchez, MS The California Gold Fields where gold fever created a dueling mania

The list of luminati, both professional and amateur, lending their wealth of knowledge and experience to this project is quite impressive and includes historians, curators of arms and armor, authors, weapons-makers, fight directors, and medical doctors. Noted experts which appear on-camera include: Ewart Oakeshott-Francois Billacois-Hank Reinhardt-Matthew GalasSimon Fearnhamm-David Edge-Lewis Shaw-Dr. Alfred CsarnetzkiProfessor Sydney Anglo--Professor Robert Nye-R.C.Woosnam-Savage-Dr. Steven Hughes-J. Christoph Auhnger--Maitre R. Van Oeveren-Pit Piepen, Ph.D.-Dr. B. Wyatt-Brown- Prof. Joanne Freeman-Dr. Todd Groce-

244

Stage Combat Resource Materials

Gaspar "Buddy" Stall-Dr. Anthony Hodges-Frank Wheeler-John Boessenacker Hunter-Kevin Mullen The following fight directors contributed by staging fights for the three tape series: Hank Reinhardt-Dan Speaker-Mike Loades-Brad Waller-Dexter FidlerMark Boohr-Peter Haldres Although the [mal installment, Dueling in the New World, primarily deals with dueling during the nineteenth century in America, there is significant discussion on dueling during the seventeenth and eighteenth centuries. Dramatized reenactments include one rapier and dagger sequence fought between two servants near Plymouth Rock and a sabre sequence fought between two British "Redcoat" officers during the Revolutionary War. A very interesting documentary on how dueling made it's way the New World and who embraced it when it arrived.

5. Johnson, Raoul, instructor. Combat for the Stage. Indianapolis, Ind.: D.V.C., Inc., Theatre Video Series, 1989. **H, U, R, T, E** Combat for the Stage will be of interest to fight directors and instructors of combat for the stage. Raoul Johnson is an Associate Professor of Theatre at Loyola University in Chicago. Professor Johnson includes safety in the selection of fireanns and swords for the stage, unarmed combat, and choreographing swordplay for the stage. Accompanying the video is a ten page "Teacher's Guide" which serves as an outline and offers other instructional aids. The color video with some subtitles runs approximately 96 minutes in length, and is available in the VHS format. Combat for the Stage is produced by D.V.C., Inc., P. O. Box 30054, Indianapolis, IN 46230 (317-575-8015), and is available through Insight Media, 121 West 85th Street, New York, NY 10024 (telephone: 212-721-6316 or 800-233-9910). Professor Johnson has produced a video which serves as an introduction to fireanns selection, safety, and use. Also covered is sword selection and use, unarmed combat technique, and theatrical fencing. The basic structure of the video follows: I. Use and selection of stage guns-real weapons vs. stage weapons II. Use and selection of swords 1. Parts of the sword 2. What is a combat worthy sword 3. The correct sword for the time period III. Unarmed combat and choreography 1. Types of blows 2. Margin of safety (distance) 3. Telegraphing the blow (cueing) 4. Stage falls

Videos

245

IV. Armed combat choreography (blow sequences) I. Blow sequences 2. Distance 3. Contact V. Armed combat choreography (breaks) 1. Types of breaks 2. Reflecting the character 3. Rehearsing VI. Reviewing a choreographed sword fight Professor Johnson occasionally advocates a problematic technique such as a slap to the neck intended to read as a slap to the face. Unfortunately, blows to the neck are always somewhat risky; and, generally, a slap to the neck looks like a slap to the neck-not to the face. The intent behind the blow can become somewhat muddled for the audience. Similarly, Professor Johnson's sword thrusts and cuts often appear to lack clear intent. He appears to be cutting to his partner's blade instead of selling that the intent is to strike the body. It is somewhat reminiscent of the old theatrical swordplay routines that were handed down from generation to generation; repetitive patterns established to aid the combatants in their attempt to strike each other's blades. Unfortunately, that is what it often looked like to the audience, two actors trying to hit each other's blades. Finally, his video covers neither "knaps" (the sound of the blow landing on the body) nor fencing footwork.

6. Leong, David S. and J. Allen Suddeth, producers/instructors. Unarmed Stage Combat I: Learning the Basics. New York: Combat Masters International; Produced at GHS-TV Studios, Germantown, Tenn., 1993. **H, U** David S. Leong and J. Allen Suddeth are two of eleven Fight Masters certified by the Society of American Fight Directors. The SAFD is an organization founded by Fight Master David Boushey in 1977 (see Boushey's Combat for the Stage video series annotation) dedicated to the ongoing improvement of aesthetic and safety standards in the combat arts. These two professional fight directors offer a series of three tapes on unarmed stage combat. Unarmed Stage Combat I: Learning the Basics is the first of the three instructional videos. This video is a "must have" for fight directors and instructors of unarmed stage combat and will be of profound use to actors and directors. The color video runs approximately 45 minutes in length in the VHS format. Accompanying the video is a 9 page study guide entitled Tips for Teachers and Performers: A Study Guide. Available through Insight Media, 2162 Broadway, New York, NY 10024 (Telephone: 212-721-6316 or 800-233-9910; www.insight-media.com). Leong and Suddeth, according to the introductory section of each video, have staged the violence for over 50 Broadway and Off-Broadway productions, over 500 television shows, and for hundreds of professional regional theatres. Each video begins with the two of them executing a short fight in an alley that leads to

246

Stage Combat Resource Materials

an introduction which stresses safety and "not rushing the learning process," and which explains their "indexing" system. The viewer can ascertain the video page number and then fast-forward to the specific technique they wish to examine. What follows is an outline of the material covered in video number 1: Learning the Basics, including video page numbers. The letters "CMI" in parentheses is a designation for "Combat Masters International:" I.

(CMI 1) Expanded Terms Section: a. Attacker b. Contact c. Victim d. Non-contact e. Fighting distance f. Pulling energy g. Breath h. Reversing energy I. Tension/relaxation j. Timing k. Eye contact 1. Punch breakdown m. Stance n. Balance o. Cueing II. (CMI 2) Tricks of the Trade: Getting Ready 1. Preparing your work space 2. Rehearsal clothing 3. Selecting partners III. (CMI 3) The Full Speed Fight 1. Executed by Leong and Suddeth IV. (CMI 4) Pushes and Pulls 1. Explicated using students a. Small push b. Big push c. Pull V. (CMI 5) Making Knaps 1. Clap knap 2. Slip hand knap 3. Shared knap VI. (CMI 6) The Stage Slap 1. Forehand slap 2. Backhand slap VII. (CMI 7) Tricks of the Trade: Rehearsing Fights 1. Slow motion 2. Working out the details 3. Phrasing 4. Limiting scope of rehearsal 5. Check your distance

Videos

247

6. Control increase of tempo 7. Breaks VIII. (CMI 8) Punching Techniques 1. Right hook 2. Left hook IX. (CMI 9) Staging Falls 1. Back fall 2. Front fall X. (CMI 10) Tricks of the Trade: Staging Fights XI. (CMI 11) Putting It All Together: Up Tempo Student Fight 1. Fight masters critique and work the student fight The instruction is top notch and the production values are excellent for the following reasons: 1.) Such production elements as the split screen help to clarify and facilitate the process of instruction. For example, you see a punch delivered from sideview (so the viewer can see the margin of safety between hand and face) and simultaneously (but on the other side of the screen) you see the technique from the audience's point of view. 2.) Sound quality, including music and special effects (such as knaps during the introductory fight sequence) are appropriate, effective, and well executed. 3.) The settings are appropriate; the actors are not overpowered by the background and everything is properly lit. Everything is shot in theatres or in the studio (except the introductory fight sequence) so the problems that sometimes accompany location shooting (in terms of lighting and sound) are not apparent. Having two instructors helps present two similar, yet different, approaches to the material. It is interesting to note such safety measures as having the students call out the speed at which the technique will be executed before initiating. One of the strengths of the video is the use of students of varying ages (high school and college age) throughout. This helps drive the point home that you do not have to be a professional stuntrnan to learn to fight on the stage. This is clearly one of the best instructional videos available on unarmed stage combat.

7. Leong, David S. and J. Allen Suddeth, producers/instructors. Unarmed Stage Combat II: Perfecting the Fundamentals. New York: Combat Masters International; Produced at GHS-TV Studios, Germantown, Tenn., 1993. **H, U**

For biographical information on Fight Masters Leong and Suddeth, information on how to obtain their series of three instructional tapes, and critical commentary on production values, the reader should refer to the annotation on

248

Stage Combat Resource Materials

their first segment Stage Combat I: Learning the Basics. What follows is an outline of the material covered in Unarmed Stage Combat II: Perfecting the Fundamentals, including video page numbers: I. (CMI 1) Abbreviated Terms Section II. (CMI 2) The Full Speed Fight III. (CMI 3) Exercise Combination #1 1. Wrist grab with release 2. Arm lock behind the back 3. Push away 4. Clothes grab with release IV. (CMI 4) Tricks of the Trade: "Acting and Intention" V. (CMI 5) Exercise Combination #2 1. Right and left hook combinations 2. Action-reaction-action 3. Duck VI. (CMI 6) Tricks of the Trade: "Combat Safety" VII. (CMI 7) Exercise Combination #3 1. Non-contact stomach punch 2. Uppercut punch with clap knap VIII. (CMI 8) Tricks of the Trade: "Partnering" IX. (CMI 9) Exercise Combination #4 1. Strangle hold 2. Hair pull 3. Push away X. (CMI 10) Exercise Combination #5 1. Crescent kick 2. Drop to the knees XI. (CMI 11) Tricks of the Trade: "Performance Anxiety and Stage Fright" XII. (CMI 12) Putting It All Together: Up Tempo Student Fight The level of difficulty is elevated in this second video, thus increasing the possibility for injury. In this video the instructors interact with the combatants emphasizing how to anticipate possible problems and articulating avoidance strategies as techniques are taught. "Action- reaction- action is also introduced; a technique for safely cueing one ' s partner before engaging in potentially dangerous choreography.

8. Leong, David S. and J. Allen Suddeth, producers/instructors. Unarmed Stage Combat III: Mastering the Techniques. New York: Combat Masters International; Produced at GHS-TV Studios, Germantown, Tenn., 1993. **H, U** For biographical information on Fight Masters Leong and Suddeth, information on how to obtain their series of three instructional tapes, and critical commentary on production values, the reader should refer to the annotation on

Videos

249

their first segment Stage Combat I: Learning the Basics. What follows is an outline of the material covered in Unarmed Stage Combat III: Mastering the Techniques, including video page numbers: I. (CMI I) Abbreviated Terms Section II. (CMI 2) The Full Speed Fight III. (CMI 3) Exercise #1 I. Backhand slap 2. Choke hold from behind 3. Elbow strike 4. Push away IV. (CMI 4) Tricks of the Trade: "The Value of Strikes and Reactions" I. Character 2. Motivation 3. Psychological/physical profile V. (CMI 5) Exercise Combination #2 I. Clothing grab 2. Left hook 3. Duck 4. Right hook 5. Right hook block 6. Uppercut punch with slip hand knap VI. (CMI 6) Tricks of the Trade: "The Fight Captain and Fight Calls" VII. (CMI 7) Exercise Combination #3 I. Contact stomach punch 2. Straight right punch with slip hand knap 3. Kick to the stomach with shared knap VIII. (CMI 8) Tricks of the Trade: "Padding" IX. (CMI 9) Putting It All Together: Up Tempo Student Fight Tape three features techniques which involve more sophisticated contact; grappling techniques, increased sensitivity to timing, and additional applications of action-reaction-action. Also offered are suggestions on various speeds of rehearsal, use of eye contact for cueing and safety; and specialty techniques such as chokes, breaks, and reversal of energy. Each tape in the series culminates in a combat scene acted out on a proscenium stage and viewed from the angle that an audience member would experience it.

9. Loades, Mike, instructor. The Blow By Blow Guide to Swordfighting in the Renaissance Style. London: Running Wolf Productions, 1992. **H, M, R, T, E** Mike Loades, a London based fight director and instructor of stage combat, offers an instructional video which includes an historical overview and technical instruction focusing primarily on the rapier and dagger. The video will be of

250

Stage Combat Resource Materials

most use to fight directors, instructors of theatrical swordplay, directors, actors, and dramaturgs. The actors who appear in the video are frequently dressed in period costuming, which may be an attraction to the costume designer. The color video runs approximately 96 minutes in the VHS format. Contact the American distributor: Gregory Hoffman, 171 Pier Ave, Suite 257, Santa Monica, CA (telephone: 310-396-8389. In Great Britain contact: Running Wolf Productions, P. O. Box 916, London, SE16 IEH. Mr. Loades, who has served as combat master at seven London drama schools, has produced a very handsome video tape which offers both an historical overview of the development of the sword from an implement of war to an article of civilian dress subject to the whims and fancies of fashion. The video also offers insight into various alternative fighting styles involving weapons which supplemented the rapier, such as the dagger and the cloak. Mr. Loades insists that just as an actor searches for truth in acting, the actor should also seek historical accuracy in fighting style. Instructors may appreciate the section which shows the viewer how to adjust a competitive/sport weapon so as to approximate the length and heft of a stage rapier. An outline of the video follows: I.

History of Dueling (with voice over) 1. Medieval 2. Renaissance 3. Academies (ancient and modem) II. Interview with Mike Loades 1. Truth in acting 2. Truth in fighting III. Adapting a Sport Weapon for the Stage IV. The Wallace Collection (of arms) 1. "Espada ropera" (the rapier) 2. Swords and the military; swords and civilians 3. George Silver's Paradoxes ofDefence (1599) V. Basic Principles ("B-L-O-O-D") 1. Balance a. Stance b. Passing c. Sword precedes the body 2. Line a. Delivering a cut 3. Eye contact a. Constant eye contact b. Use of peripheral vision 4. Distance a. Cuts VI. Targeting 1. Establishing intent 2. "In-distance" cuts VII. Daggers 1. Parrying

Videos

251

2. Main gauche 3. Spring loaded 4. Sword breakers 5. Flamboyant designs The Italian "Scratch" VIII. 1. "Stramazone" IX. Rhythm 1. Articulating the rhythm 2. Completing the move X. The Stomach Cut in Distance 1. Leaning "in" or lengthening the stride 2. Volte XI. The Advent of the Lunge (the "stocatto lunga") XII. Rapier and Cloak 1. Wrapping 2. Flinging/throwing 3. Trapping XIII. Sword and Buckler 1. Targetslbucklers/shields 2. Deflecting the cut 3. Deflecting the point XIV. The Sword Hanger 1. Belt and sling 2. Baldrick 3. Drawing the blade 4. Sheathing your blade The viewer is given a concise history of the evolution of the sword interspersed throughout the video. There is some very well thought out pedagogy in terms of teaching students to precede their bodies with the weapon, or what some American teachers call the "show then go." He also has some excellent ideas on helping the student to maintain distance, or what is called "the fencing measure." These are safe and well-designed exercises. Some instructors may take issue with some of Mr. Loades other techniques, including: 1. Maintaining constant eye contact throughout the entire fight 2. Cutting within distance There is a great deal of useful information in The Blow By Blow Guide to Sword-fighting in the Renaissance Style and some very useful techniques, however, some American instructors (especially those trained by the SAFD) may find some of those techniques (e.g. constant eye contact) somewhat problematic. The video will be most useful to the fight director who already has a strong and safe technique and can make the adjustments necessary to insure that the few problematic techniques Mr. Loades does advocate can be executed in a safe fashion.

252

Stage Combat Resource Materials

10. MacYoung, Marc "Animal" and Richard Dobson, instructors. Surviving A Street Knife Fight: Realistic Defensive Techniques. Boulder, Col.: Paladin Press; A L.O.T.I. Group Production, 1992. **H, S, B, I, D, V, M,R, T,E** Mr. MacYoung, serving as spokesman, and Dobson as instructor, offer this educational video on how to get out of a knife fight (preferably) in one piece. This video will be useful to fight directors and instructors of stage combat involved in staging and teaching knife fighting techniques for stage and screen. The color video is approximately 70 minutes in length in the VHS format. Contact: Paladin Press, P. O. Box 1307, Boulder, CO 80306 (telephone: 303443-7250; FAX 303-442-8741; or order toll free at 800-835-2246, ext. 21). Mr. MacYoung begins this video by informing the viewer that his priority is to offer the student some techniques which are of use right now, not after 20 years of practicing in a dojo. He also reiterates that traditional karate training (including kicks to the blade) can have tragic results in a knife fight. He then proceeds to show why people get hurt and some possible ways to avoid getting cut or stabbed. The focus is on defensive techniques. For the fight director and instructor willing to put in the time and imagination it takes to adjust these techniques to the stage, they will find Surviving a Street Knife Fight a valuable resource. An outline of the material follows: I.

II.

III.

IV.

V.

Introduction 1. Surviving the ambush/assassin 2. What a knife can do (a demonstration involving the laceration of a leg of beef; what a knife can do to a person Grips 1. "Peek-a-boo" 2. "Palm-job" 3. Oriental grip 4. "Balisong Boogie" Dodging and Pivoting 1. Pole/axis 2. Removing the target Distance 1. Ambushes 2. Watch for closing 3. Low line thrust 4. Vital organs 5. Opening the conversation (the initial attack) 6. A "pro" never flashes Footwork 1. When to and not to kick 2. Where to kick 3. "Railroad" stance 4. Blending the pivot and the step

Videos

253

5. "Crescent" vs. the straight back step 6. Back pedaling VI. An Un-Choreographed Knife Fight 1. Practice with rubber knives and goggles 2. Learn to recognize attacks VII. Blocking 1. Bad blocks 2. Slap/whip blocks VIII. An Exercise 1. Pivoting and stepping 2. Add in blocks IX. Sacrifice Blocks 1. Bong Sau (designed to save your life by taking the slash on the arm) 2. Don't fight-get away 3. Problems with the "wrist grab" X. Using Your Environment 1. Get something longer than a knife 2. Get something the knife can stick in 3. Practice Monkey Kung Fu (throw things) XI. Counter-Attacking 1. Neutralizing the attack first 2. Filipino triangle (male and female) 3. "Slipping off' before the counter-attack XII. Angles and Lines 1. High, mid, and low lines 2. "Nine angles" of attack 3. Four quadrants of the body 4. Inside vs. outside lines XIII. Dealing with the Law 1. Legal problems encountered with the kill XIV. The Check 1. Neutralizing the hand 2. Taking the elbow 3. Slipping from the forearm to the wrist XV.Stance Integrity 1. Pushing and pulling at 90 degrees to the stance integrity 2. Heel hooks (trips) XVI. Review 1. Pivoting 2. Stepping (moving) 3. Distance 4. Blocking 5. Counter-attacking Many of the techniques promoted by Mr. MacYoung and Mr. Dobson employ tactics and principles which have evolved over centuries. A fight director could conceivably use (with minor adjustments) some of the same techniques whether

254

Stage Combat Resource Materials

the knife fight is set in the Bronze Age, the Renaissance, or even into the nineteenth and twentieth centuries. This video is geared to teach real people what to do when faced with real danger. Fight directors and instructors of stage combat will have to carefully adjust the techniques for the stage. Those who are not already well versed in adapting such techniques to the stage should probably not attempt to do so without first seeking qualified training. Most of the techniques are taught from the perspective that one person has a knife (the ambusher, mugger, crack-head, etc.) and one person does not-you. Mr. MacYoung and Mr. Dobson also have a video, Winning a Street Knife Fight, which deals with offensive techniques. Production quality varies significantly scene-to-scene. For example, the video makes liberal and creative use of graphics, which aid in the digestion and assimilation of the material. Sound and lighting are, for the most part, adequate, but the scenery occasionally looks somewhat makeshift and shoddy. Mr. MacYoung has a winning sense of humor and he and Mr. Dobson work quite effectively together. It is obvious they have a great deal of experience in their field, obviously learned on the street. Mr. MacYoung makes semi-frequent use of coarse language and the viewer should be prepared for the occasional colorful phrase or expletive.

11. Morris, Charles H., instructor. Staged Fencing Techniques. Weslaco, Tex.: Summit Productions, Inc., 1990. **H, R, T, E**

Staged Fencing Techniques is a video that will be of most interest to fight directors and instructors of theatrical fencing technique. Mr. Morris has some information that is worth imparting and, notwithstanding some shoddy production values in the areas of lighting, sound, and setting, manages to communicate this information. The color tape has a running time of approximately 35 minutes in the VHS format. It also offers an accompanying Guide Book (23 pages) with 27 illustrations (line drawings) by Lori Spradley. The video is distributed by 1. E. Clark, Inc., Saint John's Road, Schulenburg, TX, 78956-0246 (Telephone: 409-743-3232). Morris's breakdown of six basic weapons groups could be useful in general discussions of stage combat training. His "safety sweep" of the area (including a check of the floor, the flats and set, and overhead grid), one might assume is common sense, but these things are frequently taken for granted and are rarely emphasized enough in the classroom. He also offers a simple technique for providing the beginning student with a relatively safe way to get a derailed fight back on track when an actor-combatant has gone blank on choreography. There are, however, three areas with which some experienced choreographers might take issue with Mr. Morris. The first is that Mr. Morris advocates cutting to the weapon as opposed to targeting specific areas on the body and fencing out of distance. Second, although Mr. Morris speaks of safety frequently, he can be viewed, on camera, placing a student's point directly in line with his eyes. He also has the student thrust in a high line that is near his face. Thirdly, when Mr. Morris is shown demonstrating his 12 parry positions he appears to execute a position in which his point is directly in line with his partner's face. Mr. Morris includes a section of the video that

Videos

255

presents literature indicative of several historical periods and corresponding weapons from those periods. Mr. Morris is writer, producer, and the primary actor-educator in the video.

12. Quinn, Peyton, Marc "Animal" MacYoung, and Mike Haynack, instructors. Barroom Brawling: The Art of Staying Alive in Beer Joints, Biker Bars, and Other Fun Places. Boulder, Co.: Paladin Press, 1991. **H, U** Mr. Quinn (of Blitzkrieg Attacks: Knockout Blows from the Bouncer Trade), Mr. MacYoung (of Surviving a Street Knife Fight), and their black-belt (aikido) friend, Mr. Haynack, offer this informative video on how to transfer dojo techniques to the reality of a barroom brawl. This "How-To" instructional video will be of use to fight directors and instructors of unarmed stage combat. The color video is approximately 35 minutes in length in the VHS format. Contact: Paladin Press, P. O. Box 1307, Boulder, CO 80306 (Telephone: 303-443-7250; FAX 303-442-8741; or order toll free at 800-835-2246, ext. 21). These three instructors bring their martial arts skills to bear on a situation which many a biker has probably faced, the barroom brawl, something which crops up fairly regularly in television and film. Though these men are obviously trained in eastern martial arts, they adapt these techniques to a very Western situation. The thrust of the video is actually fairly simple, taking techniques learned in the dojo and transplanting them successfully to the bar. An outline of the video follows: I.

Opening: The Barroom Brawl 1. Hollywood vs. Reality II. Self Defense-What is it? 1. First strategy-avoidance: "A fight avoided is a fight won." III. Understanding the Ambusher 1. Shouting or "woofing" before the attack a. "War-cry;" building up steam b. Close distance 2. "Freeze" the victim a. The most dangerous ambusher 3. No "woof' (no warning) 4. The blind side 5. He selects the time and place 6. Territoriality a. Women b. Money c. EGO (the number one sore spot) d. Personal space IV. Some Fundamental Combat Techniques 1. Pushing and pulling 2. Using your environment as a weapon

256

Stage Combat Resource Materials

V. Primary Combat Concepts (Techniques are physical manifestations of the following concepts) I. Relaxation (loose arms move more quickly) 2. Not contesting the power (flow with the attack and stepping off-line) 3. Economy of movement 4. Continuous attack (flow and the brush-hold-strike technique; using predictable responses) 5. Attacking into the preparation for attack (taking advantage of the "woof' or "hot interview," especially if outnumbered) As Paladin Press produces books and videos which are geared for real people dealing with real situations, the fight director or instructor will need to adapt the techniques presented so as to be safely performed for the stage and screen. The production values vary from effective use of graphics to excellent use of slow and stop-motion. First, the instructors introduce and demonstrate a technique in the dojo. Then they take us "on location," so to speak, and transfer that technique into a barroom brawl situation. The three instructors are obviously experienced in what they do and know how to teach it. As seems to be the case with most of these Paladin videos, Barroom Brawling would probably be rated PG-13 for language. An intrinsic part of "woofing" (see number III. in the outline above) appears to be prolific use of profanity. 13. Quinn, Peyton, instructor. Blitzkrieg Attacks: Knock Out Blows/rom the Bouncer Trade. Boulder, Co.: Paladin Press, 1993. **H, U** Mr. Quinn, who has extensive experience in the martial arts (aikido, judo, and karate), offers this instructional video on how to quickly effect the knock out. The video will be of use to fight directors and instructors of unarmed stage combat. The color video is approximately 50 minutes in length in the VHS format. Contact: Paladin Press, P. O. Box 1307, Boulder, CO 80306 (telephone: 303-443-7250; FAX: 303-442-8741; or order toll free at 800-835-2246, ext. 21). Mr. Quinn's presentation of the barroom environment and the Western tactics of his "opponents" in these situations, make this video valuable to the student of stage combat. An outline of the material covered follows : I.

Introduction 1. Mr. Quinn's credentials 2. Preemptive strike 3. Effecting the knock out/limiting the violence 4. The Rocky Mountain Camp II. Four Types ofK. O.'s (knock outs) 1. Vascular knock out (knife hand blow to carotid artery) 2. Impact knock out (the "evangelist blow" to the forehead) 3. Torquing or brainstem knock out (the boxer's "left hook" or right "cross")

4.

Sensory overload/pain knock out (the stun gun; joint locks)

Videos

257

III. Total Reaction Time 1. Awareness for the need for action ("woofing" and the "hot interview") 2. Selection of the appropriate response 3. Execution of the response IV. Tactical Concepts 1. Preemption 2. Trapping 3. Breaking balance 4. Using the environment as a weapon V. Mechanics 1. Forward knife hand strike a. "Chambering" of the blow b. Hip rotation c. Vocalizing (the "ki-ai") centering of the spirit d. Perceiving predictable responses 2. Reverse knife hand strike a. Watch for the "check" 3. "Evangelist" strike a. Acceleration based blow 4. "Come see the stars" blow a. Preemptive heavy blow b. Setting up the K. O. 5. Step-brush-hold-strike sequence a. The "check" VI. Conclusion 1. Do light force K. O.'s always work? 2. Technique coupled with awareness and attitude 3. Problems begin with denial of being in a dangerous situation a. You are in control or someone else is. b. Change your mode of thinking when in danger. c. The bully counts on your denial. Mr. Quinn, in association with the people at Paladin Press, has put together a very informative video. In setting up his barroom scenarios Mr. Quinn has his actors use language appropriate to the barroom. Liberal use of graphics (even computer generated images appear in this video) illustrating what happens physiologically to the brain when an impact blow is used. Written graphics can also aid in note-taking and assimilation of the material. Slow and stop-motion is frequently used to aid in the analysis of situation and technique. The fight director or instructor will have to put serious thought into adjusting these techniques for stage and screen. But several of these techniques, applied with proper reversal of energy and basic stage combat theory, can be the source of some unique choreography for stage and screen.

258

Stage Combat Resource Materials

14. Ransom, Ron, producer/director. The Stage Fight Director: A Look Behind the Scenes with David Boushey. Leucadia, Ca.: Theatre Arts Video Library, 1990. **R** Set designer, Ron Ransom, serves as host and director for this examination of the fine art of fight direction. The video will be useful to fight directors, instructors of stage combat, directors, designers, actors, drarnaturgs, and any instructor who is interested in introducing students to the various collaborative artists of the theatre. The color video runs approximately 33 minutes in the VHS format. Contact: Video Arts Theatre Library, 174 Andrew Ave., Leucadia, CA 92024 (telephone: 619-632-6355 or 800-456-8285) or Insight Media, 2162 Broadway, New York, NY 10024 (Telephone: 212-721-6316 or 800-233-9910). Mr. Ransom, while designing the set for Romeo and Juliet at the Utah Shakespearean Festival, had the opportunity to work with fight director, David Boushey. What follows is an outline of the material covered in the video: I.

Introduction 1. Utah Shakespearean Festival 2. Shakespeare's continued popularity 3. David Boushey II. Interview #1 with David Boushey (Fight Director) 1. What a fight director does 2. Forty-three Romeo and Juliets 3. What Shakespeare does not give the fight director (stage directions) III. Interview #2 with Tony Schmitt (Director) 1. Discusses the opening fight 2. How the fight sets up the play IV. Interview #3 Ransom (Set Designer) and Boushey (Fight Director) 1. Discussion of the set, set pieces, and their practical use in the fight 2. Discussion of the costumes and the need for room in the arm-pits 3. Hats and capes V. Fight Rehearsal #1 (week #1) 1. Tybalt and Benvolio 2. Slow motion and safety 3. Setting the fencing measure (distance) 4. Society of American Fight Directors (SAFD) 5. Notating the fight (writing it down) VI. Interview #4 with David Boushey (Fight Director) 1. What the fight director looks for a. Furthering the plot b. Commenting on the characters c. Spectacle d. Movement patterns e. Safety f. Maintaining the intent VII. Fight Rehearsal #2 (week #2) 1. Staying in your area

Videos

259

2. Watch out for the face 3. Introducing the Guards into the fight 4. Pole-arms and trips VIII. Fight Rehearsal #3 (week #3) I. Fighting at performance tempo IX. Interview #5 with David Boushey (Fight Director) 1. Blood and hyper-realism 2. "Selling it" (acting the fight) 3. Ethics and fight direction X. Interview #6 with Tony Schmitt (Director) 1. What the audience expects 2. What the audience knows 3. It's the acting XI. Interview #7 with David Boushey (Fight Director) 1. Forty-three Romeo and Juliets 2. "Down and dirty" fighting 3. Compromising 4. The fight captain XII. Montage Sequence 1. Rehearsal to Performance to Rehearsal again 2. Boushey's narration: spectacle and history lessons

This is a fascinating opportunity to watch a swordfight evolve from the first rehearsal through performance. Mr. Boushey's insights are simultaneously colorful and instructional. An excellent opportunity to examine the collaborative effort (fight direction, direction, set design, costume design, and acting) which goes into creating the spectacle required in the opening scene of a production of Romeo and Juliet set during the Elizabethan period.

15. Still, Collin, director. Masters of Defence: Civilian Swords and Swordsmanship in Europe 1500-1800. London: The Royal Armouries at the Tower of London. An Optic Nerve Production, 1990. **M, R, T, E**

Masters ofDefence is the first of two pieces that appear on the same video tape, the second being How A Man Schall Be Armyd. Masters ofDefence traces the history of civilian swords and swordsmanship in Europe, between 1500 and 1800, when both were necessary not only for self-defense but for social status. This video is an excellent resource for fight director, director, actor, costumer, sword-maker, and drarnaturg. The color video runs approximately 20 minutes in the VHS format. The tape begins with a sequence of two Olympic fencers sparring in their protective clothing with modem electric foils and then segues back to the origins of the sport. The video focuses on the sword in personal combat as opposed to use in battle. It examines changes and developments in swordplay over the 300-year period when the sword evolved from the heavy and brutal weapon of the Middle Ages to the gentle and delicate piece of equipment used in the aristocratic academies of the eighteenth century. The video utilizes

260

Stage Combat Resource Materials

reproductions of woodcuts from the eras supplied by the R. C. Scott Library at the Art Gallery and Museum, Glasgow. Costumes, weapons, choreography, setting, lighting, writing, cinematography, and scholarship are all of high quality. The various weapons produced in each era are carefully described and seen in the video. Not only are the weapons exhibited, but they are seen in action in costume and on location in several choreographed sequences that serve as excellent examples of personal combat from each period. The fights are imaginatively arranged by John Waller, with the assistance of Rodney Cottier and Mike Loades. The piece is written, produced, and directed by Collin Still. The production truly manages to conjure the milieu of dueling with the sword from 1500-1800.

16. Wilkinson, Anthony, director. How A Man Schall Be Armyed. London: Royal Armouries of the Tower of London, 1990. **R** How A Man Schall Be Armyd is the companion piece to Masters ofDefence and appears on the same video tape. It will be of most use to the armorer, the fight director, the actor, and the dramaturg. The running time is approximately 14 minutes for this color video available in the VHS format. This video shows how a full armor of the Elizabethan period was put on, piece by piece, and also how it was designed to give the maximum protection without restricting movement in battle. During the fourteenth century full plate armor began to come into vogue, and by the Battle of Agincourt (1415) it had been widely adopted. Full body armor, according to this attractively produced video, then continued in use for virtually two and a half centuries, from the age of Chaucer to the age of Shakespeare. The armor in this video is from the end of that period, when full body armor was on the wane, the age of Elizabeth 1. The weight of the armor is discussed and the names for all of the various and separate pieces of armor are articulated as we see a "skilled" servant dress his master for battle. Director, Anthony Wilkinson, maintains exemplary production values; the entire video is beautifully shot on location at Bodiam Castle in Sussex, England.

CHAPTERS CONCLUSION Shakespeare, as well as numerous other dramatists and screenwriters, has a marked penchant for putting weapons in the hands of his characters at the climax of his plays. Do we not go to the theatre and cinema, at least in part, to voyeuristically experience the violence of life? Is it also not possible that we do so in the hope of becoming better equipped to confront it? Some might even suggest we do so in an effort to purge ourselves of the violent urges which are intrinsic to the bestial side of our nature. Some might even ponder, "Is it possible that there is something to that hoary old Aristotelian notion of catharsis?" If this is in fact the case, then those of us who participate in creating the illusion of violence on the stage and screen may very well be involved with an issue which is at the very heart of the theatre experience. Since undertaking the project, I have come to two profound epiphanies: first, my contact with other scholars and practitioners in the field of stage combat has reinforced my belief that there is, indeed, a serious need for this resource; second, that a resource of this type has been far too long in materializing. As I continue to meet and correspond with an ever-increasing number of fight directors and teachers of stage combat, I have been led inexorably to the conclusion that we all have "pet" resources upon which we rely for information and inspiration. I have also observed significant overlapping of resources from one person to the next. However, it also became clear that there are myriad resources which remain virtually unknown to many fight directors and teachers of stage combat. I frequently found myself musing, "How much more effective might we be if more of us were aware of these resources and how to acquire them?" As I began my research I soon discovered that concerns voiced by some of my more academic colleagues that there might "not be enough material to warrant such a study" have turned out to be completely unfounded. I might liken this undertaking to that of dropping a pebble into the waters of a still pond. Once the pebble was dropped the reverberations were

262

Stage Combat Resource Materials

surprisingly profound, resulting in one "ring" or "wave" after another of valuable resources surfacing; resources which have, in many cases, already found their way into my work and the work of other teachers and choreographers of stage combat. Yet hundreds more of these resources are waiting to be discovered and utilized-as there is no viable way to make such a resource as this exhaustive-only comprehensive. Thus the search goes on as old materials continue to surface and new materials are produced. This study concludes with the emergence of the firearm as the preeminent weapon on both the battlefield and the field of honor. Though the focus of this bibliography has been on unarmed combat and cut and thrust weapons, many of the resources listed in this document include valuable information on early and contemporary firearms . There are, however, thousands of additional resources which would be of use to those involved in the utilization of firearms on the stage and screen. Many scenes of violence, especially in the cinema, require the actor to be trained not only in Asian and Occidental stage combat techniques, but in the use of firearms (including semi and fully automatic weapons) as well. It is my belief that a study of a similar nature to this one, but focusing on the use and maintenance of firearms for the stage and screen would certainly be of use to the modem fight director and stunt coordinator. The last several years have seen the deaths of such young and rising film stars as John-Erik Hexum and Brandon Lee, son of martial arts icon, Bruce Lee. Brandon Lee died due to a tragic but preventable firearms accident he suffered while filming a scene in the motion picture, The Crow. He was at the beginning of what promised to be a stellar career. Lee's death might have been prevented with additional training and safeguards. Hexum, the young star of a television series, died when he jokingly placed his semiautomatic handgun to his temple and pulled the trigger, thinking it was unloaded. It was not. It contained a chambered 45 caliber blank. This young television star died due to his cavalier attitude toward a firearm, a death which might have possibly been prevented had he received more intensive firearms instruction for the stage and screen. As long as firearms continue to be an intrinsic part of the stage and screen actor's work, theatre educators have an obligation to prepare their students for such challenges. There are a very limited number of workshops available for actors and stunt-people interested in this specific aspect of theatre and cinema. Just as fight directors, weapons-makers, and actor-combatants will undoubtedly benefit from exposure to many of the resources listed in this bibliography, stunt coordinators, fight directors, and actors could benefit from a bibliography of resources focusing on the safe use and maintenance of firearms for the stage and screen. For better or worse, violence on the stage and screen will undoubtedly continue to be a significant part of the theatre and cinematic experience for some time to come. So long as human beings resort to violence to resolve conflict, dramatists and screenwriters will continue to reflect that behavior in their art forms. As long as violence is reflected in those art forms, the fight director's expertise will be required. It has been an exhilarating, educational, and gratifying undertaking to compile and annotate such an extensive list of resources for the fight director, instructor of stage combat, and weapons-maker.

Conclusion

263

It is my sincere hope that this bibliography will be a practical aid to those of us

who regularly toil at safely creating the illusion of violence for the stage and screen.

APPENDIX A GLOSSARY Advance. Sometimes referred to as "the fencing step." The leading foot steps forward, followed by the trailing foot. Ailette. A flat plate of leather or parchment, which could be square, round, or diamond shaped, attached to the point of the shoulder. Worn between 12501350 to display owner's coat-of-arms. Aketon. A linen garment, usually padded and quilted and worn under or instead of plate or mail. Almain Rivet. A light munitions half-armor or corslet, made in Germany during the early sixteenth century. Anelace. Long dagger similar to the baselard. It had a narrow blade and was popular during the thirteenth to fifteenth centuries. Angon. A javelin patterned on the Roman pilum and used by the Franks. Anime. The "splinted" cuirass or breast-and-back. It was composed of horizontal lames (plates). Also called the "anima." Armet. Fifteenth century helmet of Italian origin consisting of a skull, two hinged cheek pieces which lock at the front, and a visor. Arming doublet. A quilted garment worn under armor from the early fifteenth century, equipped with points to attach mail gussets and pieces of armor. Arminger. A squire. Arming sword. A cut and thrust fighting sword that was part of the knight's equipment for war. Aventail. A curtain of mail attached by means of staples (vervelies) around the base of a helmet (especially the bascinet) and covering the shoulders. Also called camail (a French term) . Avoidance. A movement intended to "dodge" an attack. Awl-pike. Pike with long spike blade and a disc shaped guard below it. Backsword. A sword with a single edged blade and a flat back edge.

266

Appendix A

Badelaire. Sixteenth century hanger with a broad blade and "S" shaped crossguard. Balestra. A combination of a jump forward and a lunge. There are two counts in this action: one-jump, two-lunge. Ballock knife. Or dagger with a distinctive hilt having two rounded lobes instead of quillons. Used from the fourteenth to seventeenth centuries. Barbote. A high bevor with a falling lame containing eyeslits; used in Spain. Barbut. Also called barbute, barbuta. An open-faced shoulder-length Italian helmet made in one piece; with a "T"-shaped face opening. Barbuta is an Italian term. Bard. A full horse armor, which could include a shaffron, crinet, peytral, crupper and flanchards . Bardiche. Pole-arm with a long, thin axe blade, usually crescent shaped. Baselard. Dagger with blade of varying length and "I" shaped hilt, fourteenth to fifteenth centuries. Bases. Cloth skirts worn over armor in the sixteenth century. Basinet. Also called bascinet, basnet. An open-faced helmet with globular or conical skull enclosing the sides of the face and neck. Usually worn with an aventail and occasionally a visor. Bastard sword. See Hand-and-a-half sword. Beat attack. A sharp "tap" against the middle or the foible of the opponent's blade, with the object of opening a line, or provoking an attack. Beat parry. A parry which clears the line by striking an attacking blade, as opposed to blocking or redirecting the attacking blade. Bellows visor. A modem term for a visor with horizontal ridges, such as on "Maximilian" German fluted armors of the early sixteenth century. Besagew. Defensive circular plate suspended over the wearer's armpit. Bevor. Also called bavier or buffe. A chin-shaped defense for the lower face, incorporating a gorget plate. The buff was an early sixteenth century variant, worn strapped to an open-faced helmet such as the burgonet. Bilbo. Type of Spanish cup-hilted military sword of the eighteenth century with double edged blade. Bill. Based on agricultural implements, the bill usually has a hooked blade with spikes at top and rear. Bind. A blade taking action which carries the opposing weapon diagonally from high line to low line, or vice versa, across the body. The bind is a prise de fer (taking of the blade). Birnie. Also called a bymie. A mail shirt. See also Falling buffe or Buffe. See also Hauberk. Blueing. An oxidized blue surface on plate armor, produced through heat treatment. Blocked punch. A move that deliberately stops an incoming punch; usually executed with the forearm or hand. Boar spear. Spear with a wide, leaf-shaped blade. The head of this spear often has a crossbar below the blade, just above where the shaft inserts into the head.

Glossary

267

Bouche. Top notch cut in the top (dexter) comer of a shield, to rest the lance when jousting. Bowie. Used mainly for hunting. Originally American, circa 1830, now used for any knife having a broad, heavy single edged blade with a clipped back edge near the point. Bracer. Early fourteenth century form of defense for the lower arm; also a term for an archer's arm guard to protect the forearm from the bowstring. Break fall . Any maneuver which dissipates the energy or force from a fall or roll and gives the illusion of impact. Breastplate. Plate armor protection for the front of the torso, to the waist. See also Plackart. Breaths. Holes or slits in the visor of a helmet or the lames of a falling buff or bevor, for ventilation; also usually permitting a degree of extra vision. Brigandine. A flexible body defense consisting of a large number of metal plates riveted inside a cloth covering. Broadsword. Sword having a straight, broad, double edged blade. Buckler. A small round shield carried by infantry, and used in conjunction with the broadsword. Buffe. See Bevor and Falling buffe. Burgonet. A light, open-faced helmet popular in the sixteenth century as an alternative to the close-helmet for light cavalry. It was usually furnished with a peak over the brow, a combed skull, and hinged ear- pieces. The face opening could be closed by the addition of a falling buffe. Butt end. The trailing end of the staff in the En Garde (on guard) position. Byrnie. See Birnie. Cabacete. A type of Spanish war hat (popular throughout fifteenth century Europe) with a turned-down brim and an almond-shaped skull ending in a stalk. See Morion. Camail. See Aventail. Cap-a-pied. Term derived from the French meaning "from head to floor." Catchpole. Polearm with forked head similar to the agricultural pitchfork. Celata. Open-faced Italian sallet, common in the fifteenth century. Champ-clos. A ring, usually surrounded by a wooden barrier, in which two or more equally matched armed combatants fought during a tournament. Change beat. A change of engagement immediately followed by a beat attack. Change of engagement. To release contact of the blades, and re-establish contact in a new line. Chape. A metal terminal, often decorated, for the bottom of a sword, knife or dagger scabbard to protect it against wear or damage. Also metal strap-ends on belts, horse harness, etc. See also Locket. Chapel de fer. Also called kettle hat. A simple open-faced helmet with a wide brim. Chausses. Mail protection for the legs, either in the form of mail hose or strips of mail laced round the front of the leg. Cheeks. Contemporary term for "langets"; long strips of metal riveted to the shaft of a weapon to attach, strengthen, or protect the head.

268

Appendix A

Cinquedea. Fifteenth to sixteenth century Italian dagger with a blade very broad at the hilt and tapering to a sharp point. Claymore. Scottish two-handed sword of the fifteenth to sixteenth centuries, now generally accepted to include the Scottish basket-hilted broadsword. Close-helmet. Helmet which, with a full visor and bevor, completely encloses the head and face. Cnight. Anglo-Saxon word meaning a retainer. Coat armor. A quilted garment worn over armor in the fourteenth century. Coat of fence. Also called fence, jack or brigandine. A doublet or tunic lined with small metal plates or, more rarely, just padded with a stuffing of tow. See also brigandine and jack. Coat of plates. Also called a pair of plates or simply plates. A cloth garment with a number of large plates riveted inside, worn in the fourteenth century. Cod-piece. Fabric covering for the groin, latterly padded. Its counter-part in armor could be either of mail, or more usually, plate. Coif. A hood, usually of mail; by the twelfth century it often incorporated a ventail. Colichemarde. Type of small-sword blade which is broad for the first third of its length, then tapers suddenly for the remainder. Collar. See Gorget. Contact strike. A blow delivered to a major muscle group. The energy of the strike is pulled but contact is made. Corps-ii-corps. Means "body to body". Describes the moment when the combatants come in close contact and the weapons are immobilized. Corslet. Also spelled corselet. A light half-armor popular in the sixteenth century for general military use; consisted of a gorget, breast, back and tassets, full arms and gauntlets; also be applied to the cuirass only. Counter parry. A parry that begins in one line, travels a full circle to meet the attacking blade in the original line. Counter parry two is sometimes called the "Actor's Parry" because of the flashy appearance. Coupe. A change of engagement that takes the blade around the opposing blade's point. Sometimes called a "cutover." Court sword. A form of small-sword used for dress purposes; still worn today. Couteau-de-chasse. French hunting sword or hanger. Couter. Also spelled cowter. Plate defense for the elbow. Covered or closed. Said of a line of engagement, when the defender's weapon prevents an attack to that line of engagement. Croise. A blade taking action which carries the opposing weapon from a high line to a low line, or vice versa, but on the same side as the engagement, not diagonally across like a bind. The croise is a prise de fer technique. Cross parry. A parry using both rapier and dagger held forte to forte so that the blades cross, forming an open "V" to catch the attacking blade. Cuirass. A backplate and breastplate designed to be worn together. Cuir bouilli. Leather hardened by super saturating in water or boiled in molten wax, and then dried over a former. Popular as a medium for embossing and tooling. Cuirie. Thirteenth century form of body defense, originally made of leather.

Glossary

269

Cuisses. Also called cuishes. Defenses for thighs. Culet. Hooped plate defense for the rump, made of horizontal laminations. Cut. An attack made with the sharp, or "true," edge of the blade. In the case of theatrical swordplay, weapons do not actually have a sharpened edge. The attack, nevertheless, is delivered with the edge of the blade which simulates the sharp edge. Cut across the head. A horizontal cut designed to look as if it will strike the head if it lands. It may travel right to left or vice versa, and is avoided usually by ducking. Cut across the stomach. A horizontal cut designed to look as if it will cut the stomach open if it landed. It may travel right to left or vice versa. The wrist is often held to present the true edge. Cutlass. Short, broad bladed sword with single edge and a semi-basket hilt, normally associated with sailors. Dagger. A diminutive form of sword, usually worn on the right hip, with a short single or double-edged blade and a variety of hilt forms. Known in fourteenth century England as a misericorde. Damascening. Also called inlay. A process used for the decoration of metal surfaces; usually silver or gold onto iron or steel. Dart. The term usually applied to the short Roman javelin with a feathered end. Deception of parry. The evasion of the partner's attempt to make contact with the attacker's blade with a parry. Demi voIte. A method of effacing the target by swinging the rear leg backward and sideways, so that the trunk is brought 90 degrees in relation to the attack. Destrier. The war-horse of a knight. Diagonal cut with avoidance. An off line cut to either the inside or outside line. It may be a rising or falling cut. It is usually avoided by leaning to the side away from the cut. Dirk. General term applied to Scottish or naval daggers. Disarm. The act of removing a combatant's weapon from the hand by force or leverage. Disengage. 1. The act of removing the blade from contact with the partner's blade. 2. Passing the blade under that of the opponent in the high line, or over it in the low line, and terminating on the side opposite to the original engagement. Double. An attack in any line that deceives a direct parry and a counter parry. Ear Dagger. Fifteenth to sixteenth century dagger, the hilt having a pommel shaped like two ears. Elbow attack. Any attack giving the illusion of contact with the elbow. Elbow gauntlet. The cuff of this gauntlet reaches the elbow, replacing both the lower cannon of the vambrace and the couter. Enarmes. Suspension loops or straps attached to the inside of the shield, through which the knight passed his arm in order to carry it. Engagement. When the blades are in contact with each other, they are said to be "engaged." En garde. Or "on guard." The basic "ready" position of sword fighters .

270

Appendix A

Envelopment. An attack on the blade that, by describing a circle, picks up the opposing blade and brings it back to the original line of engagement. An envelopment is a prise de fer. Epee. Sharp pointed, originally French, dueling sword with long straight triangular blade and cup hilt. Nowadays used blunted for fencing. Espalier. An early English name for a light, usually laminated, shoulder defense. It first appeared at the end of the thirteenth century. Estoc. Fifteenth to seventeenth century long, stiff and sharply pointed sword, the blade being square or triangular in section and the edges often blunt. Exchange pieces. Supplementary pieces of armor which could be added to, or exchanged with, those comprising a harness, in order to alter its purpose, for instance, from the field to the joust. Executioner's swords. Blunt-tipped (flat), broad bladed swords usually having plain cruciform hilts with grips long enough to be used with two hands. Sixteenth to nineteenth centuries, especially in German. Eye contact. The technique of periodically looking in the partner's eyes during the course of a fight, in order to assure continued communication between partners and appropriately timed cueing of techniques. Falchion. Short, curved, single edged sword, the medieval form sometimes having a broad, cleaver-like blade. Falling buCfe. Sixteenth century plate armor for the chin and lower face, similar to the bevor but made of several lames (usually articulated by means of sliding rivets) held in place by a spring catch or stud which, when released, allowed the buff to fall, thereby exposing the face to permit better breathing and vision. Feint attack. Any attacking action deliberately intended not to land on a target. The aim is to draw a reaction or a parry. Fencing measure. The correct distance between combatants when engaged in stage combat involving swords. The appropriate distance should be six to ten inches out of distance for a hit when the taller of the combatants is in a full lunge. Field armor. Armor for war, that is, "for the field." Also called hosting armor. Flail. Pole-arm or hand weapon with ball or bar attached to the head by a chain, based on an agricultural implement. Flamberge. Transitional rapier with shallow saucer-shaped guard and short straight quillons, introduced circa 1600. Flip/throw. An offensive movement which controls or appears to control the victim's center, giving the illusion of having lifted them off their feet and returning them to the ground. Foil. Blunt edged thrusting sword with button point, used in fencing. Fore end. The leading end of the staff in the "en garde" position. Francisca. The Frankish throwing axe. Gadlings. Protruding studs or bosses on the finger and knuckle joints of a gauntlet. Gambeson. A quilted, skirted doublet of cloth, often made of linen, stuffed with tow, wool or grass. Worn by all classes either underneath a mail shirt, on top of it, or as a separate defense on its own.

Glossary

271

Gamboised cuisses. Padded quilted thigh defenses worn in the thirteenth and fourteenth century. Garde-rein. Defense for a man's rump. Garniture. An armor complete in itself but also with up to twenty or thirty related interchangeable exchange-pieces or additional parts. An innovation introduced in the sixteenth century. Gauntlet. Defense for the hand, in the form of a glove. It could be of mitten type or individually fingered; initially of mail (see muffler), then of plate. See also Mitten gauntlet and Elbow gauntlet. Gestesch. A form of joust fought with rebated lances in order to score points by hitting one's opponent or shattering lances (the "joust of peace"). Gladius. Roman short sword (approximately two feet in length), two-edged with a point. Glaive. Pole-arm with curved, knife-like blade. Glissade. An offensive action against an opponent's blade that applies lateral pressure while moving forward. Sometimes referred to as a pressure glide, or coule. Godendag. Literally translated, "Good Morning" in German. Flemish pole-arm of the thirteenth to fifteenth centuries with the emphasis on the axe blade. Gorget. Also called a collar. Plate defense for the neck and top of the chest and shoulders. Generally made in two parts joined by a hinge or pivoting rivet on the left and a "keyhole" and stud to secure it on the right. Sixteenth century examples often have a high, laminated neck and fittings to carry the pauldrons. Gothic. With regard to armor the term refers in particular to late fifteenth century German armor, characterized by cusped attenuated lines and fluting, often incorporated into fan-shaped designs. Grand guard . A large reinforcing plate designed for the tilt, attached to the left side of the breastplate to cover the left shoulder, the upper arm and breastplate and the left side of the visor. Graper. A stop behind the grip ofa lance. Great helm. See Helm. Greave. Also called schynbold or jamber. Plate defense for the leg from the knee to ankle, initially protecting only the front, but later the whole lower leg. Constructed of two plates hinged together and shaped to the contours of the muscle. Schynbald and jamber are used in connection with the earlier type. Guige. Strap attached to the inside of the shield by which it could be slung round the neck of the bearer. Guisarme or gisarme. A pole-arm with the emphasis on the axe blade. Gusset. In the fifteenth century, shaped pieces of mail sewn to the arming doublet to cover the armpits and portions of the arm left exposed by the plate defenses. In the early sixteenth century gusset also referred to laminations at the armpit of the breastplate. Habergeon or haubergeon. A short type of hauberk. The terms are often used indiscriminateIy. Halberd. Axe-headed polearm, usually with a rear and top spike.

272

Appendix A

Hand-and-a-half sword. A large double-edged sword having a long grip so that it could be used with either one or two hands. Hand parry. A defensive move where the hand (usually gloved) is used to deflect, block, or seize an attack. Hanger. Short, slightly curved or straight, single edged sword popular with hunters; also used by naval officers and other ranks of European armies, seventeenth to eighteenth centuries. Hanging parry. A parry protecting the high lines with the hilt high and the point angled down, such as a high parry of prime or a sloping head parry. Harness. A term used in preference to "suit" when talking of a complete armor. Hauberk. A mail shirt reaching to somewhere between the knee and hip and invariably with sleeves. Hauberks could be made of other materials, such as scale. Haute-piece. Upstanding neck guard attached to the pauldrons. Heading sword. See Executioner's Swords. Heater shield. A form of knightly shield which appeared around 1270. Shaped much like the base of a flat iron. Helm, great helm. An all-enveloping helmet which enclosed the entire head and face, reaching almost to the shoulders. Originally cylindrical in form. Restricted to the joust from the mid-fourteenth century. Holbein dagger. Sixteenth century dagger with short, leaf-shaped blade and distinctive shaped hilt. The style was reintroduced for the Nazi daggers of the twentieth century. Holy water sprinkler. A form of mace with a spherical head bearing a number of small spikes. Hose. A cloth leg covering. In Norman times, very loose; by the fifteenth century they fitted closely, the legs being joined. Hosting armor. See Field armor. Hunskull. An English corruption of the German hunsgugel (doghead), a nickname for the pointed visors found on basinets of the late fourteenth and early fifteenth centuries. Hunting sword. Short single edged sword, sometimes with a curved blade, used by hunters and usually having stag hom or ivory hilts with silver or brass mounts. Invitation. Any movement of the weapon or body intended to tempt the opponent into an attack. Jack. A jacket or doublet of fence either of linen stuffed with tow or lined with small metal plates. Jamb. Also called jamber, jambart or jambiere. An early medieval term for leg armor (schynbald). See also Greave. Javelin. General term for a light throwing spear. Jedburgh staff. Form of Scottish pole-arm with the emphasis on the axe blade. Joust. Mock combat between mounted knights, who charged each other with couched lances. Jousts often took place within tournaments. Special armor, weapons and equipment for the joust began to be introduced in the fourteenth and fifteenth centuries.

Glossary

273

Jupon. A tight-fitting garment, usually padded, and worn over armor from c. 1350-1410. Often used to display the wearer's arms. Kastenbrust. A modem term used to describe a particular type of angular breastplate common in Germany between 1420 and 1450. Kettle hat. An open-faced helmet consisting of a bowl with a broad brim, resembling the "tin-hat" of the British army c. 1914-48. Kick. An attack made with the foot. Kidney dagger. See Ballock knife. Kite-shaped shield. A large, elongated triangular shield with a rounded top used throughout Europe from the tenth to the thirteenth century, commonly associated with the Normans. K1appvisier. A modem term for a globular visor worn in Germany in the fourteenth century to accompany the basinet; it only covered the area of the face left exposed by the aventail. Knap. The sound created by one of the combatants, which mimics the contact of the blow. Used for non-contact blows, i.e. clap knap, body knap, slip hand knap, or shared knap. Body knap. The sound made by striking a major muscle group on the body. Either partner can make this knap. Clap knap. The sound made when both hands clap together, usually made by the victim. Shared knap. The sound made when the attacker's open hand meets their partner's open hand or major muscle group. Slip hand knap. The attacker claps hands, and follows through during the act of delivering the strike. Knee attack. Any attack giving the illusion of contact with the knee. Knuckle-guard or knuckle-bow. The curved guard of a sword hilt, designed to afford some protection to the hand; a metal bar curving outwards from the quillon block towards the pommel. Lame. A narrow strip or plate of steel, sometimes used in armor to provide articulations. Lamellar armor. Armor consisting of small plates laced together to give a rigid defense. Of Near Eastern origin, used throughout the Middle Ages in eastern Europe, but not common in the West. Lance. Originally a long (approximately fourteen feet in length and usually made of ash, with a small steel head), plain spear used by cavalry. The term eventually came to mean, in particular, the specially shaped medieval cavalry weapons used both for warfare and jousting. Landsknecht. A type of lightly armored German soldier (early sixteenth century), usually of lesser-knightly rank. Landsknecht dagger. Distinctive straight bladed dagger with a hilt which tapers towards the quillons, used by the Landsknechts. Landsknecht swords. Type of sword popular with the Landsknechts in the sixteenth century and having distinctive figure of eight shaped quillons. Left hand dagger. Sixteenth to seventeenth century dagger used with the rapier, usually having a side ring guard and cruciform hilt.

274

Appendix A

Lines of attack (for right-handed combatant). Inside line. The lines or parry positions protecting the combatant's left side. Outside line. The lines or parry positions protecting the combatant's right side. High line. The lines or parry positions protecting the combatant from the waist up. Low line. The lines or parry positions protecting the combatant from the waist down. Off line. 1. Any attack which is directed to a target away from the body. 2. The relationship of combatants' bodies when the center lines of the combatants are offset to the left, or to the right. On line. 1. Any attack which is aimed directly to the combatant's body. 2. The relationship of combatants' bodies when both partners' vertical center lines are lined up, either face to face, back to back, or front to back. Linstock. Pole-arm resembling a short pike but with two serpentine holders below the head used to hold slow match for firing cannon. Lists. An enclosure prepared for a tournament. Livery. Among other things this term applies to the robes worn by the adherents or servants of a lord, bearing his badge and in the tincture of his coat of arms. This indicated the partisanship of an individual to a superior and could be worn by people of any rank. Lochaber axe. Scottish pole-arm with the emphasis on the axe blade, usually having a hook at the top. Locket. The top mount, usually made of metal, on a sword, knife or dagger scabbard or sheath, designed to protect its mouth and also occasionally as a point of suspension or fastening to a belt. Long form. Sliding hand positions for quarterstaff utilizing the full length of the staff for attack or defense. Lucerne hammer. Hammer-headed pole-arm, popular with Swiss infantry in both the fifteenth and sixteenth centuries, balanced by a rear spike (fluke) and with a second spike at the head of the shaft. Sixteenth and seventeenth century examples often have a hammer head of coronel form. Lunge. The "extended" leg position used as a method of reaching the opponent on an attack. To lunge, the leading leg extends forward in a long step, while the trailing leg stays in place. Mace. A short club-like weapon, latterly with a flanged head, usually made of steel. Mail. A flexible defense constructed of inter-linked and riveted rings of metal, the origin of which seems to be Celtic. Each link passes through four others and the garment is shaped by the addition or subtraction of rings in appropriate places. Main gauche. Seventeenth century left hand dagger, usually having long straight quillons and a broad triangular knuckle guard. Manifer. A plate of defense for the lower part of the left hand and arm, usually constructed in one piece and designed for the joust.

Glossary

275

Maul. Long handled mallet with a spike at the top, carried by English longbowmen. Maximilian armor . A modem term applied to the style of early sixteenth century armor characterized by narrow, parallel fluting, popular during the reign of the Emperor Maximilian I (1494-1519) and thereafter until the middle of the century. Melee. Combat between two groups of knights as opposed to single combats between two individuals. See also Tourney, which usually took the form of a melee. Misericorde. Narrow, sharp pointed dagger used to finish off dismounted knights. Mitten gauntlet. A gauntlet with articulated transverse lames covering the fingers, rather than the fingers each being separately protected by a series of articulated plates. Morgenstern. Also see "Morning Star." Flemish flail of the fifteenth century in the form of spiked ball attached to a haft by a chain; also a spiked wooden club used by foot soldiers. Morion. A sixteenth century development of the kettle hat, widely used by infantry, consisting of a skull with a broad brim, flat or turned down at the sides, but sweeping upwards into a peak at front and rear. There are two main types: the so-called Spanish morion (cabasset) which was an almondshaped skull ending with a stalk-like projection, clearly derived from the cabacete; and the comb morion which has a high central comb along the apex of the skull. Morning star. Also called morgenstern. A form of spiked club, popular in the early sixteenth century. Mortuary swords. Name given to seventeenth century basket-hilted broadswords decorated with the head of England's Charles 1. Moulinet/molinello. Means "little windmill" and describes the action of pivoting the blade in circles in a diagonal, vertical, or horizontal plane. Mourning sword. Small-sword with a plain hilt of blackened steel. Muffler. A mitten-like extension to the sleeve of a hauberk with a hole in the wrist so that the wearer could remove his hand. Munnions. Articulated lames (often attached to the gorget) protecting the shoulders and upper arms. Nasal. Plate defense on early medieval helmets, often riveted to the bottom of the skull to cover the nose and the middle of the face. Noncontact strike. A blow delivered with the illusion of contact, properly masked from the audience, with a well timed knap. A non-contact strike always misses the target. Panoply. The complete equipment of a soldier. Pappenheimer. A rapier of Netherlandish design named after Heinrich, grafzu Pappenheim, who participated in the Thirty Years War. It is a heavy rapier with a form of swept hilt incorporating two large, pierced shell guards. It is sometimes referred to incorrectly as a Walloon sword.

276

Appendix A

Parry. The defensive action of deflecting or blocking an attacking weapon. What follows are the parries most commonly used in stage combat in this country (for right-handed combatants): Parry prime or parry 1. The hand is in half pronation with the point down. Although the parry is intended to protect the left or inside line of the body anywhere from the shoulders to the ankle, it is usually used against attacks from the waist down. When used to protect the low line it is sometimes referred to as the "watch parry" because the wrist position is similar to looking at a wrist watch. Parry seconde or parry 2. The hand is in pronation with the point down protecting the low line on the right side.. Parry tierce or parry 3. The hand is in pronation with the point up protecting the right, or outside high line (waist to head). Parry quarte or parry 4. Hand is in supination with the point up protecting the left, or inside high line. Parry quinte or parry 5. The hand is in pronation protecting the head from a downward vertical or diagonal cut. The hilt is on the right side of the body; point extends to the left. Parry sixte or parry 6. 1. Protecting the same area as a parry tierce or 3, except the hand is held in supination. Usually used against a thrust. 2. Protecting against a vertical or diagonal cut to the head. The hilt is on the left side of the head, and the point extends to the right. Sometimes called a "5-A" ("A" being a designation for "alternate"). Parry septime or parry 7. Protecting the low inside line with the hand in supination. Parry octave or parry 8. Protecting the low outside line with the hand in supination. Partizan. Pole-arm, first appearing in the early sixteenth century, with the emphasis on the spear head, usually having upward curving projections (flukes) at each side. Pike. Long hafted spear with small head, often leaf-shaped and carried by infantrymen. Pikes were used by the Flemings, the Swiss, and the Scotts becoming as long as twenty-two feet from the sixteenth century. Pass backward. The placing of the front foot in back of the rear foot. Pass forward . The placing of the rear foot in front of the leading foot (a walking step). Pauldron. A laminated plate defense for the shoulder, extending at the front and rear to protect the armpit. Pavise. Large, usually rectangular shield carried by infantrymen and frequently used in siege operations to protect archers. The largest pavises were equipped with a prop to support them. Pillow sword. Early form of small-sword with a slender, double edged blade and a plain hilt. Pilum. Heavy throwing spear used by the Romans. Plackart. A plate reinforcement attached to the breastplate, which at first only covered the lower half but latterly, especially on Italian armors, covered nearly the entire breastplate.

Glossary

277

Poleaxe or pollaxe. A knightly staff weapon with an axe head balanced by a rear spike (fluke) or hammer head and with spikes at the top and bottom of the haft. It was used from the fifteenth century for foot combats and for war. Poleyn. A cup-shaped plate defense for the knee, usually equipped with a side wing of heart shape. Pommel. Also called pummel. A variously shaped counterweight to the sword blade, sometimes riveted, but more often screwed on to the end of the sword tang above the grip. Pommel attack. An attack made, usually in close distance, with the pommel of the weapon instead of the blade. Poniard or poignard. Similar to a misericorde but smaller. Prise de fer. A translation into English is, taking of the blade (or iron). Refers to any controlling attack on the blade which takes an opponent's blade from an existing line to a new one. Examples are a bind, envelopment, or croise. Pronation. The position of the sword hand with the palm down. Proof. Armor "of proof' is made sufficiently thick or hard to resist a shot from bow or musket. The term first occurs in the texts of early medieval romances. Punch. An attack made with the fist. Punto reverso. A point attack delivered from the attacker's inside line to the partner's outside line with the hand often in supination. Quillons. Term first used in the sixteenth century. The arms of the cross-bar on a sword guard which protect the hand by preventing the opposing blade from sliding down onto the fingers . Quillon block. The central part of the guard of a sword, from which the quillons spring; on early cross-hilted swords, the quillons and quillonblock were made in one. Quillon dagger. General term applied to daggers with cruciform hilts. Quintain. A pivoted gibbet-like structure with a shield suspended from one arm and a bag of sand from the other. Used to practice for jousting. Ranseur. A form of Partizan. Rapier. A sword with a long straight blade, introduced in the sixteenth century. Originally designed for cut and thrust fighting, it gradually developed into a purely thrusting weapon. Rapier hilts were often elaborate and may be divided generally into swept hilt (a complicated guard consisting of several thin metal bars), transition, and cup hilt. Recovery backward. A standard recovery. To arrive at en garde (on guard) position from a lunge by bringing the front foot backward. Often simply referred to as "to recover" or the recovery. Recovery forward . To arrive at en garde (on guard) position from a lunge by bringing the rear foot forward. Reinforced parry. A parry which utilizes the non-weapon hand as a brace to increase the stability of the parry. Rennen. A form ofjoust where the main object was to unhorse one's opponent, although points were scored for the splintering of lances. It was fought with pointed headed lances (the "joust of war").

278

Appendix A

Rennhut. A deep, one-piece sallet with a vision slit cut into it, specifically designed for the rennen; sometimes equipped with a fluted brow reinforce and a roller on its lower front edge. Rerebrace. Plate armor for the upper arm. Retreat. The rear foot steps backward, followed by the front foot. Sometimes the retreat is also referred to as the "retire." Ricasso. The part of the sword-blade nearest the hilt. It is usually thickened and blunted to an oblong or rectangular section, allowing the finger to be curled around it for a more secure grip. Riposte. An attack immediately following a successful parry. Rondache. See Buckler. RondeI. Fourteenth to sixteenth century dagger with a thin blade and distinctive hilt with a disc guard and pommel. Runka. Also called a rawcon or a corseque. An early sixteenth century staff weapon with a head having a long, straight central blade with two smaller ones at its base projecting out from it at approximately forty five degrees from the horizontal. Sabaton. Sometimes called solleret by the French. A plate for defense for the foot consisting of a number of lamenations across the foot, ending in a toecap. Sabre. A single edged, curved sword designed primarily for cutting, often with false edge near the point on the back edge. Sallet. A light helmet either fitted with a visor or open-faced, varying in form, having a tail to protect the neck. In Germany it took a form somewhat like a sou'wester, and in Italy that of a basinet. In England known as a salade. Scabbard. Also called a sheath. The protective outer case for an edged weapon, particularly swords and daggers. The term scabbard is generally used for swords, and sheath for smaller blades such as knives and daggers. Scarf sword. See Pillow sword. Schiavona. A type of broadsword with a distinctive trellis and bar basket hilt, used by Dalmatian mercenaries employed by Venice in the seventeenth to eighteenth centuries. Schlager. German dueling sabre of the nineteenth and twentieth centuries, with a basket hilt and blunt edge and tip except for the last two inches near the point. Sciabola. Italian light, single edged sword with short false edge at the point. Scramasax. Single edged Saxon sword from which the falchion was descended. Seax. Saxon knife with single edged blade. Short form. A hand position for quarterstaff which divides the staff into three equal sections. Sidearm. Short sword worn especially by gunners, bandsmen and engineers during the eighteenth and nineteenth centuries. Side-ring. A modem term to describe the ring-shaped guard springing from the quillon block at right angles to the quillons on swords of the late fifteenth and sixteenth centuries.

Glossary

279

Sinclairsabel. Late sixteenth century Scandinavian sword with a long flat curved blade and a triangular guard. Skean Dhu. Small Scottish knife worn in the stocking top when in full dress. Skeggox. Anglo-Saxon single-handed axe, used in hand-to-hand combat and also as a missile. Skull. The part of a helmet covering the top, back, and the sides of the head above the ears. It can also denote a simple metal cap. Slap. A blow usually delivered to the face with an open hand. Small-sword. Light civilian sword with simple hilt, developed from and succeeding the rapier. The slender thrusting blade was at first double edged but from about 1700 on the hollow ground triangular section blade became almost universal. Solleret. See Sabaton. Spangenhelm. A modern German term describing conical helmets constructed of a number of segments riveted together; descended from Late Roman prototypes. Spadroon. A light cut and thrust sword with a stirrup hilt favored by officers of the army and navy during the last eighteenth century. The spadroon has the overall appearance of a small-sword, but actually is an earlier incarnation with a flat, double-edged blade; as opposed to the colichemarde blade, or the more traditional triangular hollow-ground small-sword blade "Spanish" morion. See Cabasset and Morion. Spatha. The long sword adopted by the Roman legions from the first century A.D. onwards. Spaudler. A light laminated defense protecting the point of the shoulder and top of the arm, especially popular in Germany. Spear. The oldest form of staff weapon, intended primarily for thrusting. The war spear usually had a leaf-shaped or long, thin, triangular head. Spetum. Staff weapon similar to a runka. The head consists of a long pointed blade or tine with two upward-curving secondary blades extending outwards on opposite sides from its base. Spontoon. Miniature partizan with a leaf-shaped blade and a cross bar. Originally a weapon, but from the seventeenth to the eighteenth centuries (sergeants in British Army till 1831) carried as a staff of rank by officers and NCOs (noncommissioned officers). Spadroon.. Spurs. V-shaped metal goads strapped to the heel, used to drive the horse on. Dating from early antiquity. Early medieval spurs were of simple prick type; rowel spurs date from the very late thirteenth century. Standard. A mail collar common in the fifteenth century. Stechhelm. A "frog-mouthed" form of great helm which was worn specifically for Gestesch (a form of jousting with rebated lances), bolted to the breastplate. Stechzeug. Armor designed for the Gestesch. Stiletto. Seventeenth century dagger with thin blade, hilt and quillons often being made in one piece with the blade. Suit of armor. See Harness of armor.

280

Appendix A

Supination. The position of the sword hand with the palm up. The opposite of pronation. Surcoat. A flowing garment worn over armor from the twelfth century. It could be sleeved or sleeveless, usually reaching the mid-calf. Later it was shortened and in the fourteenth century developed into the jupon. Sword breaker. Usually a parrying knife for use with the rapier, the back edge being serrated to catch an opponent's blade, sometimes castellated to snap the blade. Sword stick. A walking stick with a sword blade concealed inside it, the handle of the stick serving as the hilt. Tang. The homogenous continuation of a sword or dagger blade, often passing through and retaining the rest of the hilt (Guard, Grip and Pommel). By the middle of the medieval period virtually all sword tangs passed through the pommel and over it to secure and retain the hilt. Target. Small circular or sometimes rectangular shield. Whereas the buckler often has a single handle for the hand, the target often has two metal or leather loops through which the forearm is slipped for further stability. Tasset. A defense for the top of the thigh, hung from the fauld by straps to cover the gap between cuisses and breastplate. First appeared in the fifteenth century. Thrust. An attack made with the point of the weapon. Tilt. A barrier of wood covered in cloth to separate the jousters as they ran a course. Introduced in the fifteenth century to stop head-long collisions. Tonlet. Also called bases. A deep, hooped skirt of steel worn on armors designed for foot combat from the late fifteenth to the early sixteenth century. Tournament. A mock combat, useful both for practice and entertainment introduced as a formal occasion in the twelfth century. Tourney. Also called in German freiturnier. Although originally implying single combat, within the context of a tournament this term rapidly came to signify a melee, either on foot or on horseback. See also Melee. Traverse. Any foot movement that takes the combatant off-line. Tuck. A contemporary English term for an estoc. Two-handed sword. Large, double edged sword with a long hilt to enable it to be swung with two hands. The swords usually have a second "grip" above the quillons so that the sword may be "shortened" in crowded conditions. Vambrace. Armor designed for the lower arm. The term can be applied to the whole of the arm defense with the exception of the pauldron. Vamplate. A circular plate of steel set in front of the grip on a lance to protect the hand. Vassal. An individual owing service and allegiance to his superior under the feudal system. Ventail. An integral flap of mail attached to the coif in the thirteenth century; it could be drawn across the mouth to protect the lower face. Visor. Protection for the eyes and face; a plate defense pivoted to the helmet skull.

Glossary

281

Volant-piece. An English term for the reinforcing brow-piece on a helmet such as the sallet. Volte. A method of effacing the target by swinging the rear leg backwards and sideways, so that the trunk is brought 180 degrees in relation to the attack. Also referred to as, "Bum in the Face." Voulge. Early form of halberd, introduced by the Swiss in the thirteenth century. Walloon sword. See Pappenheimer. War hammer. Also called Martel and Horseman's Pick. A short-hafted hammer used mainly in the late fifteenth centuries as a percussive weapon by combatants on horseback. This horseman's pick combined a hammer head with a long, curved pick-shaped fluke on the backside. War hat. See Kettle hat. White armor. A modem term for an armor of plain, polished steel without a cloth or any other form of permanently attached covering. Wrapper. An additional defense for the armet or, later, other helmets; it was strapped to the front of the helmet and covered the lower half of the chin and visor. Wyvern. A legendary beast with the head of a dragon and the body of a serpent. Attached by its head to a long staff, it was a traditional Norse battle standard of the late Dark Ages, continuing to be used on the Continent in the early Middle Ages. Yield parry. A defensive movement immediately following a parried attack, whereby the initial attacker gives way to a counter-attack while the blades remain engaged. Also called a "Ceding Parry."

APPENDIXB SELECTED FEATURE FILMS The purpose of these brief commentaries is to inform the reader of cinematic resources which they may wish to consult for information and inspiration regarding period costumes, armor, weapons, and choreographic style. Adventures of Casanova (1947). Director Arturo de Cordova proved an excellent directorial stylist in his early days. Casanova leads the oppressed people against their tyrannical ruler in eighteenth century Sicily. Adventures of Don Juan (1948). Errol Flynn offers some of his better fencing, while facing more than one opponent at a time. Some amusing drills are presented by Don Juan's students. Flynn tries a little rapier and dagger in the climactic duel on the staircase with villain Robert Douglas. The fights were staged by Fred Cavens with Cavens doubling for Douglas. The acrobatic leap from the stairs by Flynn and the subsequent kill with the dagger, was restaged from the duel Cavens had staged for Alan Crosland in the silent Don Juan (1926) . Adventures of Robin Hood (1938). Errol Flynn takes on the delightfully evil Basil Rathbone (who claimed to fence for pleasure nearly every day). The film features an excellent staircase fight sequence. Good example of sabre technique done with aluminum broadswords. The film sports a nice quarterstaff sequence between Flynn and Alan Hale (Little John). Early master, Fred Cavens, staged the swordplay. Against All Flags (1953). The film stars Errol Flynn, Maureen O'Hara, and Anthony Quinn. Flynn is a dashing British soldier maneuvering among buccaneers. Maureen O'Hara, as a pirate princess, shows she can handle a rapier quite well. The climactic duel is between Flynn and a young Anthony Quinn.

284

Appendix B

The Alamo (1960). John Wayne directs and stars as Davy Crockett. The final battle is well worth waiting for. Cut and thrust weapons styles include sabre, lance, and bayonet. The Alamo: 13 Days to Glory (1987). A television movie with James Arness as Jim Bowie, Brian Keith as Davy Crockett, Raul Julia as Santa Anna, Alec Baldwin as Col. Travis, and Lome Greene in a cameo as Sam Houston. A somewhat trite rehashing of the last days leading preceding the fall of the Alamo; the final battle (filmed by John Eisenbach) is well coneived and filmed. Weapons styles include sabre, lance, and bayonet. Alexander Nevsky (1938) . Sergei Eisentein and D. Vasilyev direct while Prokofiev offers a stirring musical score. Set in 1242, the Prince of Novgorod (Alexander Nevsky) leads his people in a desperate battle against invading Teutonic Knights. Nevsky's serfs and warriors strategically decide to make a stand against the Germans on the ice of Lake Peipus. After nearly forty-five minutes of uninterrupted mayhem, the ice of Lake Peipus opens up to swallow the heavier German forces who are in full retreat. This film is virtually one lengthy battle scene. There is a great deal here for those interested in armor, weapons (both aristocratic and common), heraldry, etc. However, the actual fighting is generally framed so closely that all you see are knights swinging broadswords and axes in and out of frame, or huge masses of foot-soldiers crashing into each other. There is a very interesting sequence in which the Germans have regrouped and formed ranks with the first line kneeling behind their shields and the second and third lines extending their lances beyond the first line. They then repulse several attacks by the more lightly armored serfs. This film is most interesting in its depiction of mass warfare strategy as opposed to individual expertise in executing fight choreography. Considering GermanSoviet relations in 1938, it is no surprise to see Teutonic Knights depicted as dropping live Russian babies into fire pits. Anne of the Indies (1951). Lady pirate, Jean Peters, rapier in hand, fights well with Louis Jourdan...but not well enough to win. The Bandit of Sherwood Forest (1946). Cornel Wilde, is featured as the son of Robin Hood. Wilde won the American National Intercollegiate Fencing Championships in 1934 and was a member of the 1936 U.S. Olympic Sabre squad. Black Arrow (1948). Louis Hayward stars in a film which offers some nice jousting in the climactic tournament scene. The Black Pirate (1926). Silent swashbuckler with Douglas Fairbanks, Sr. as a nobleman turned pirate. Fairbanks offers some energetic rapier work. Black Shield of Falworth (1954). Tony Curtis (not very convincing) and Janet Leigh star in this tale of usurpation and revenge. Medieval knights train and the tournament scenes are of interest. A great deal of "boom and clang" is dubbed onto the sound track. The Black Swan (1942). Dashing pirate Tyrone Power, playing opposite a beautiful Maureen O'Hara (no novice swords-woman herself--see Sons of the Musketeers) offers some adequate rapier play in some nicely turned sea battles. The final fight, between Power and a heavily doubled George

Selected Feature Films

285

Sanders, is slightly sped up and ranges over the entire ship while a battle is ensuing. Body and Soul (1947). John Garfield plays the lead and produces this gritty film on the "boxing racket." Garfield fights his way out of the slums and into the mob regaining his self-respect when he drops his opponent in the ring. Caesar and Cleopatra (1946). Claude Rains, Vivian Leigh, and Stewart Granger. The film is a cinematic adaptation of G. B. Shaw's play. Stewart Granger is afforded his first opportunity to wield a sword on-screen. Captain Blood (1935). Errol Flynn, Olivia de Haviland, and Basil Rathbone are featured in the first "talkie" swashbuckler. This film serves as the introduction of swashbuckling icon Errol Flynn, cup-hilt rapier in hand. Captain Blood climaxes with an effective seashore duel on the rocks choreographed by Fred Cavens. Captain Kronos, Vampire Hunter (1974). Captain Kronos is an unusual blend of the horror and swashbuckling genres. A sword-wielding stranger stalks a new breed of vampire. Fights directed by William Hobbs. City of Conquest (1941) . The film stars James Cagney, Ann Sheridan, and Arthur Kennedy. Cagney fights to pay for his younger brother's (Kennedy) music lessons and goes blind after an opponent rubs rosin into his gloves during the big fight. Cleopatra (1963). This is a star-studded epic featuring Elizabeth Taylor, Richard Burton, Rex Harrison, and Roddy McDowell. Taylor is the famous queen of Egypt who seduces Julius Caesar and Marc Antony (Burton). The film is renowned for being one of the most expensive and lavishly produced flops in cinematic history. From a stage combat perspective, there are two very interesting sequences. The first is a siege sequence in which Caesar (Harrison) orders his soldiers to "form the turtle" (testudo) and destroy the ballistas (catapults) which are pelting his walls with stones and fire. This Iron Age "tank," made up of soldiers who create an armored box with their shields (scutum), exits the fortress and inexorably makes its way toward the enemy positions. The enclosed soldiers simply extend their spears (pilum) through the cracks between the shields and pierce enemy soldiers who are foolish enough to attack them. The second scene of interest is the famous sea battle at Actium. In this sequence Antony and Cleopatra's ships clash with those of Octavius and Pompeii in a doomed effort to save Egypt. Conan the Barbarian (1982). Former world class body builder Arnold Schwarzenegger stars in a film adaptation of Robert E. Howard's fictional sword wielding warrior. This fantasy-adventure features a variety of medieval-inspired weaponry (sword, spear, bow, axe, and war-hammer). Conan shows a marked tendency to style (pose) and use Japanese (kendo) cutting techniques. Conan the Destroyer (1984). Arnold Schwarzenegger reprises as Conan the barbarian warrior. Grace Jones wields an impressive quarterstaff while Wilt Chamberlain prefers the battle axe. Arnold keeps to his fantasy broadsword.

286

Appendix B

The Corsican Brothers (1941). This Douglas Fairbanks, Jr. version offers a lengthy duel with Akim Tamiroff. Fred Cavens stages the small-sword fight. He and his son, Albert, double frequently for the principals. The Court Jester (1956). This film is an excellent blend of the sublime and the ridiculous when it features Danny Kaye's climactic duel with Basil Rathbone on the turrets of a castle. Strangely enough, though the story is set during the medieval period--Rathbone and Kaye fence with rapiers. The swordplay was set by Ralph Faulkner, who also doubled for Rathbone. Rathbone was an excellent fencer, and was only doubled to allow Kaye more freedom for some improvised comic bits of action that might have proven somewhat dangerous for the classically trained Rathbone. Crossed Swords (1954). Directors: Nato de Angelis and Milton Krim. The story concerns a past-him-prime adventurer who foils an villainous Italian counselor. Co-produced and shot in Italy starring Errol Flynn with Gina Lollabrigida in her fourth film. Set in sixteenth century Italy with suitable weapons of the period. Crossed Swords (1978). Oliver Reed, Earnest Borgnine, George C. Scott, and Charleton Heston in a remake of Mark Twain's The Prince and the Pauper. Rapier choreography is supplied by B. H. Barry. Reed offers, as he did in Richard Lester's 1974 version of The Three Musketeers, some adroit rapier and cloak. The Crusades (1935) . Henry Wilcoxon wields a impressive hand and half sword in the Third Crusade. Typical Cecil B. DeMille medieval spectacular. Cyrano de Bergerac (1950). Jose Ferrer, directed by Stanley Kramer, captured an oscar with his suitably theatrical style. The energetic duel at the Hotel de Bourgogne between Bergerac and De Valvert (played by choreographer Fred Caven's son, Albert--who quite dutifully allows Ferrer to take the spot light) is in the typical sport fencing (sabre) style of Hollywood's Golden Age of Swashbuckling. In this version we see Cyrano take on a crowd of villains at the Port d' Nesle--with Fred Cavens doubling for Ferrer and taking on, at least, eight at once. Cyrano de Bergerac (1990). Gerard Depardieu as Cyrano. The fights (rapier for Bergerac and Valvert in front of the Hotel de Bergonne and various other Renaissance period weaponry, including farm implements, for the battle scenes. Fights arranged and choreographed by William Hobbs. Dangerous Liaisons (1990). John Malkovich, Glenn Close, Michelle Pfeiffer, and Keanu Reeves in costume drama set just before the French Revolution. Hobbs supplies a suitably dangerous (if framed very tightly) small-sword duel for Malkovich and Reeves. Destry Rides Again (1939). James Stewart is teamed up with Marlene Dietrich. This time it's the women who end up flinging fists at one another. Marlene Dietrich and Una Merkle duke it out in a two minute long, very vicious fight. Die Another Day (2002) Director Lee Tamahori supplies one of the weaker in the James Bond juggernaut. Pierce Brosnan and Halle Berry star with Brosnan (Bond) and Gustav Graves (the villainous Toby Stephens) squaring

Selected Feature Films

287

off in a rollicking and very physical saber fight (choreography by Bob Anderson) that ranges far throughout a mansion...and results in a lot of damage to the set-if not the characters. Anderson makes good use of fencing doubles Jonathan Weeks, Ben Paul and Steve Paul. Dodge City (1939). Errol Flynn in a well staged saloon brawl in that perennial "cow-town," Dodge City. The Duellists (1977). Harvey Keitel and Keith Carradine fight a twenty year long duel set against the backdrop of Napoleon's European campaigns and the early Republic. There is a wide range of dueling offered in the film, including small-sword, cavalry sabre (on foot and on horseback), and pistol. The fights are supplied by William Hobbs. This early offering of director Ridley Scott, is an excellent resource for costumes, weapons, and choreography. EI Cid (1961). Charleton Heston and a riveting tournament scene which includes jousting, battle axe, single-handed broadsword (with Heston using his saddle as a shield), and two-handed broadsword. Heston and Andrew Cruikshank engage in a rather lengthy single-handed broadsword fight supplied by Jean Heremans. Excalibur (1973). John Boorman's rendition of the King Arthur legend. Nicol Williamson as Merlin, Nigel Terry as Arthur, and Helen Mirren as Morgana. William Hobbs stages the combat sequences. The final battle between Arthur and Mordred is particularly brutal but stylishly photographed. Excellent examples of fantasy armor are displayed. Fall of the Roman Empire (1964). Combat highlights include Christopher Plummer and Stephen Boyd in a pilum duel set in a large rectangular list supplied by Roman soldiers stacking their shields (scutum) one on top of the other. The Four Musketeers (1973). Richard Lester offers a campy romp as a sequal to The Three Musketeers with Michael York, Oliver Reed, Richard Chamberlain, Frank Finley, Charleton Heston, Christopher Lee, Raquel Welch, and Faye Dunaway. Some very creative fights are staged by William Hobbs, including one on an iced over creek, still another in a burning stable/barn, and a climactic rapier and dagger fight between D'Artagnan and Rochefort in the chapel of a convent. Genghis Khan (1965). Omar Sharif is supported by Stephen Boyd and James Mason. The film is useful for its Mongol costumes, weapons, and milieu. It also offers an interesting duel between Sharif and Boyd which begins with lance on horseback and degenerates into sabre on foot. Gentleman Jim (1942). Errol Flynn stars in this bio-flick loosely based on the life and times of the polished nineteenth century pugilist Jim Corbett. Flynn performs some stylish bare knuckle fighting. Giant (1956). James Dean and Rock Hudson in a film as large as its setting, Texas. Offers one of the truly great fist fights captured on film. The Great John L. (1945). Greg McClure as John L. Sullivan in some very exciting and often funny ring scenes. The Great Race (1963). Tony Curtis as "The Great Leslie," Natalie Wood, Jack Lemmon, and Peter Falk. The film offers some nice foil and sabre

288

Appendix B

sequences. The fencing is slightly sped up for effect. There is also a very energetic and entertaining barroom brawl sequence set in the quintessential mythic Westem-frontier-town ofBorracho. Gunga Din (1939). Cary Grant and Douglas Fairbanks, Jr. with some rough and tumble swordplay (sabre) set in colonial India. Hamlet (1948). Laurence Olivier (won the Oscars for best actor and picture) and Terence Morgan (Laertes) offer some very impressive rapier and dagger staged by Denis Loraine. Olivier utilizes the Salvini disarm during the exchange of rapiers. Hamlet (1990). Franco Zefferelli casts Mel Gibson in the role of the melancholy Danish prince. Fight Director William Hobbs applies some imagination and produces some creative swordplay with the medieval broadsword--three different types (sizes) are utilized; the smallest set is used in two-handed, double-fence style. Helen of Troy (1955). Stanley Baker, Bridget Bardot, and Harry Andrews. The classic story of the fall of Troy at the hands of Greek forces led by Menelaus and Agamemnon. One of the highlights of the film is the single combat between Hector and Achilles which begins on chariot with javelins and climaxes on foot with club-butted spears. There is also an interesting sequence in which the Greeks attempt to storm the walls of Troy with a siege machine--right out of the Middle Ages-only to be repelled by Paris and his Trojan forces. Another effective sequence is the ambushing of the gate keepers by commandos hidden away in the Trojan horse. Excellent, if not totally historically correct, action with sword, shields, spear, and chariot. Costumers, armorers, and weapons-makers will find this film quite helpful. Henry V (1945). Sir Laurence Olivier directs and plays the young King Hal. Broadsword, shield, and longbow are used in the exciting climactic battle sequence at Agincourt. Useful for costuming, armor, weapons, and insight into medieval battle strategy and technique.. Henry V (1990). Kenneth Branaugh directs and stars in this film adaptation of Shakespeare's classic tale of the making of a king. This version sports a nicely executed battle at Agincourt. The director makes good use of meager resources and makes a little look like quite a lot. Broadswords, pikes, and lots of longbow action at Agincourt. Highlander (1986). Christopher Lambert, Roxanne Hart, Clancy Brown, and Sean Connery. A sixteenth century Scottish warrior ends up in twentieth century America pursued by his arch-enemy. An intriguing blend of sparking broadswords, katanas, claymores and "MTV video"style. Hook (1991). Robin Williams stars as Peter Pan with Dustin Hoffman as his arch-nemesis, Captain Hook. Steven Spielberg's much ballyhooed telling of the Peter Pan tale. Some cutlass and small-sword play, staged by Los Angeles fight director Dan Speaker, near the end of the film. If (1967). Malcolm McDowell (A Clockwork Orange, The Royal Flash, Time After Time and Blue Thunder) in his film debut about boys at an English boarding school. There is an interesting sabre fight which occurs in the school's gymnasium.

Selected Feature Films

289

Iron Mistress (1952). Anthony Quinn in the New Orleans fencing salle with Alan Ladd as Jim Bowie. The film offers an interesting knife versus sword duel in a darkened room. Fight Director Fred Cavens makes a cameo appearance as the fencing master. Ivanhoe (1953). Robert Taylor, Joan Fontaine, Elizabeth Taylor, and George Sanders. A lavishly produced medieval costume drama. Yakima Canutt staged the action sequences. The armor (full plate armor, as opposed to chain-mail) is not historically accurate for the period. Taylor and Sanders (or their doubles) participate in brutal joust. A fair amount of "boomclang" (to simulate the sound of the weapons bashing into the armor) is added to the soundtrack. Jason and the Argonauts (1963). Todd Armstrong and Gary Raymond star in this rendition of the ancient Greek myth. Animated skeletons appear, courtesy of Ray Harryhousen, to swordfight with live actors. Julius Caesar (1953). Marlon Brando, James Mason, and John Gielgud in Shakespeare's classic of intrigue in the Roman capitol and on the battlefield. An excellent film for costuming and weapons, but there is not a great deal to offer fight directors in terms of combat. King Lear (1983). Sir Laurence Olivier in one of his later and greater performances. William Hobbs offers some very impressive sword and shield choreography in the climactic duel between Edmund and Edgar. The costuming and settings are a creative blend of medieval and ancient Celtic Britain. Kingdom of Heaven (2005) Director Ridley Scott's epic treatment of the fall of Jerusalem, in that period between the second and third Crusades, to the famed Muslim leader Saladin. Sword master C.C. Smiff supplies the fights. The most memorable sequence is when a posse attempts to arrest Belian (Orlando Bloom). This fight involves Liam Neeson, Orlando Bloom, and Kevin McKidd fighting off the bad guys. Broadswords abound. The King's Thief (1955). Edmund Purdom in an interesting attempt to pinch the Crown Jewels in seventeenth century London. The film offers some nice rapier work in a fight staged in the Tower of London. Ladyhawke (1984). Rutgar Hauer fights an evil Bishop (John Woods) in medieval Europe. William Hobbs offers some very creative single and double-handed broadsword. Overall style is medievaVfantasy-including a rock 'n roll soundtrack. Co-stars Matthew Broderick and Michelle Pfeiffer. The Last of the Mohicans (1992). Not the 1936 original with Randolph Scott, or the 1977 remake with Steve Forrest, but a sumptuously filmed remake with Daniel Day Lewis and Madeleine Stowe in the leads. James Fenimore Cooper's classic tale of the French and Indian War in colonial America. The fighting is simultaneously brutal and beautifully photographed. Nice examples of combat with primitive Indian weapons and eighteenth century firearms. The Legend of Zorro (2005) This sequel to The Mask of Zorro (1998) reunites director Martin Campell with stars Antonio Banderas (Don Alejandro de la Vega/Zorro) and Catherine Zeta-Jones (Elena, his long-suffering wife). Rufus Sewell steps into the villainous shoes filled by Stuart Wilson in the

290

Appendix B

first film. This sequel does not quite live up to its prequel. It is a bit plot heavy and sports many anachronisms. The heavy plot leaves less room for the sort of spectacular sword-brawls present in the first film. Those fights present, supplied by venerable sword-master Bob Anderson, are serviceable but not as inspired as in the 1998 film. The high point of the film is a fight that takes place on moving train. Lives of a Bengal Lancers (1935). Gary Cooper stars with Franchot Tone, and Richard Cromwell. Cooper and Tone are friends in the famous late nineteenth century British Regiment. The action sequences (firearms, sabre, and lance) in this film still put many later films to shame. The Lord of the Rings (2001). The much ballyhooed and long-awaited cinematic treatment of 1. R. R. Tolkien's classic trilogy of novels. Peter Jackson served as director for all three films, The Fellowship of the Ring, The Two Towers, and The Return of the King. All three films were shot together but released over a two year period. Elijah Wood stars as Frodo, with Viggo Mortenson as Aragorn, Sir Ian McKellen as Gandolf, and a slew of other high profile stars in a variety of roles. Once again veteran Bob Anderson supplies the fights. Weapons and fighting styles include broadsword, battleaxe, bow and arrow, and a variety of fantasy weapons. If ever a film was a good fit for computer generated graphics, this is it. Those looking for extended one-on-one fights that exhibit technical skill may be somewhat disappointed. Most of the fights in this piece are one or two blow kills with a quick edit to the next hero taking out yet another indiscernible Ore. Lots of action...just not much definition. Macbeth (1948). Orson Welles, who directs and plays the ambitious Thane of Cawdor, offers some nice broadsword action. Macbeth (1971). Roman Polanski directs Jon Finch, Francesca Annis, Martin Shaw. This film is often remembered because of its gory and brutal violence. Useful for its period weapons and costuming. The Man in the Iron Mask (1938). Louis Hayward, Joan Bennett, Alan Hale, and Walter Kingsford star. Nice example of an early Hayward swashbuckling vehicle. Hayward offers some energetic rapier work. The Man in the Iron Mask (1998). Directed and written by Randall Wallace, who also penned the screenplay for Mel Gibson's Braveheart. Leonardo DiCaprio stars as twin brothers Louis XIV and Phillipe in this retelling of the classic Alexandre Dumas tale of how a tyrannical French king is replaced by his more compassionate twin. The famous four musketeers, some twenty years after we were first introduced to them, are played by John Malkovich (Athos), Gerard Depardieu (Porthos), Jeremy Irons (Aramis), and Gabriel Byrne (D'Artagnon). Single rapier and rapier and dagger fights are supplied by William Hobbs. Lavish sets and costumes c. 1660 France. The Mark of Zorro (1920). Douglas Fairbanks, Sr. Stars in what some critics laud as his best work. Lots of sabre swordplay in that inimitable, highly athletic style only Douglas Fairbanks could supply. The Mark of Zorro (1940). Tyrone Power and Basil Rathbone offer some excellent swordplay. Some of the more pure sabre technique you will ever

Selected Feature Films

291

see on film. Albert Cavens, son of Fred Cavens, doubled extensively for Powers. The gravel-voiced Eugene Pallette once again dons a cassock and sword (as he did in The Adventures of Robin Hood) and has a brief fight with Rathbone. The Mark of Zorro (1974). This made for TV movie stars Frank Langella. The film ends with a showy sabre fight between the two primary antagonists. But Langella and Ricardo Montalban (as Col. Esteban) don't quite offer the energy and panache of their predecessors (Powers and Rathbone). The Mask of Zorro (1998). Directed by Martin Campbell. Stars Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, Stuart Wilson, and Matt Letscher. Banderas stars as the masked crusader out to rid Spanish California of injustice and tyranny twenty years after Zorro first appeared on the scene. Anthony Hopkins is Don Diego de la Vega who has served twenty years in prison for his earlier exploits as Zorro. He must now find a suitable heir to his mantle-and finds one in a near- do-well bandit played by Banderas. The highly athletic sword fights are supplied by veteran Hollywood sword-master Bob Anderson. Many of the sword fight sequences are longer than has become the recent standard in Hollywood, which has recently tended to rely upon one or two cuts, a punch, and then off to the next sequence. According to fight director Anderson, these fights are closer in tone to the fights of the Golden Age of Hollywood swashbucklers of the past and are more reminiscent of Douglas Fairbanks, Sr.'s athleticism and use of humor. The Master of Ballantrae (1953). Errol Flynn is involved in the revolution to dethrone the Hanovers and place Bonnie Prince Charles on the throne of England. Robert Louis Stevenson supplies the story and Paddy Crean supplies the fights. Very nice ship-board duel between Crean (doubling for Flynn) and Bob Anderson (doubling for Flynn ' s adversary) who has gone on to a rather successful career as a fight director in his own right (The Princess Bride and the 1993 Disney version of Three Musketeers) . McLintock! (1963). John Wayne takes a shot at slapstick Western! The whole town gets involved in a fantastic brawl. This is a very entertaining film with some pretty funny "schtick" and comic combat routines (including a fight at the top of a mud-slide). The Men of Sherwood Forest (1954). Don Taylor, Reginald Beckwith, and David King Wood star in a British version of Robin and his Merry Men. Taylor is a sword wielding and properly cavalier Robin. Mississippi Gambler (1953). Tyrone Power is involved in some impressive affairs d' honeur involving the small-sword in 1850 New Orleans. An excellent resource for costumes, weapons, and mise-en-scene of the antebellum deep South. Fight Director Fred Cavens makes a cameo appearance as the fencing master. Monty Python and the Holy Grail (1974). A wonderful parody of the "King Arthur" legend and film geme. The broadsword fight between Arthur and the Black Knight at the bridge especially stands out as particularly brutal-and hilarious .

292

Appendix B

The Moonraker (1957). Cavalier George Baker versus Roundhead Peter Arne. Well produced costume drama set in the 1650s and having to do with followers of Charles Stuart. A competent final sequence is offered as the hero attempts to fight (rapier) his way from an inn to the seashore, where an escape ship awaits. The Musketeer (2001). Peter Hyams directs this East meets West adaptation of Dumas pere's classic. Justin Chambers stars as D'Artagnan with Tim Roth doing duty as the heavy, Febre "the man in black." Hong Kong style wirework is utilized in a somewhat ridiculous climactic fight staged on ladders teetering to and fro. Pascal Lopez serves as sword master. Pirates (1986). Roman Polanski's multi-million dollar flop filmed in Tunisia. Walter Matthau stars as a wooden-legged pirate after a golden Aztec The throne. Rapier and cutlass fights are supplied by William Hobbs. rapiers have the historically accurate heavy, double-edged blade as opposed to the thinner epee blades of the 1930s and 1940s. Hobbs choreography reflects a newer penchant for shorter blade sequences coupled with punches and kicks. The Prince and the Pauper (1937). An athletic and much praised Errol Flynn in Mark Twain's famous story. Flynn dispatches his old friend, Alan Hale, in a rapier fight in a forest. Prince Valiant (1954). Robert Wagner fights with James Mason while taking a tum as the famed cartoon prince in a typical Twentieth Century Fox cardboard costumer. The film offers sword, scramasax, and spear work supplied by Jean Heremans. The Princess Bride (1989). Carey Elwes, Robin Wright, Mandy Patinkin, and Wallace Shawn star. Canadian fight director Robert Anderson stages some very entertaining, if somewhat tongue-in-cheek, rapier work with Mandy Patinkin and Carey Elwes. Both actors are very impressive as they fight left handed, only to later reveal that they are actually both right handed. The Prisoner of Zenda (1937). Ronald Colman, Douglas Fairbanks Jr., and David Niven star. Colman is forced to impersonate his cousin who is king of a small Ruritanian country. Colman and Fairbanks use lighting, good direction, and camera angles to get the maximum effect out of their sabre fight with minimum effort. The climactic sabre fight is staged by the late Ralph Faulkner who appeared in the role of Bersonin. The Prisoner of Zenda (1952). A lavish remounting of the Ronald Colman/Douglas Fairbanks, Jr. classic with James Mason and Stewart Granger. The film is valuable for examining the Prussian military milieu, including costuming, weapons, and mise-en-scene. Jean Hereman staged the sabre duel between Mason and Granger in Zenda Castle. The Private Lives of Elizabeth and Essex (1939). Errol Flynn and Betty Davis star. Michael Curtiz once again directs Errol Flynn with vigor and style. The costumes, armor, weapons, and acting are great. The Purple Mask (1955). Tony Curtis, Gene Barry, and Angela Lansbury star. A very athletic Tony Curtis as a nineteenth century sword wielding nobleman out for justice. Tony has some interesting shots in the salle d' armes, and a fast moving duel around the base of "Madame la Guillotine."

Selected Feature Films

293

Quentin Durward (1955). Robert Taylor stars as a dashing hero in the fifteenth century France of Louis XI. He manages to come to life, just before the end of the film, in a noisy bell-tower fight. Raging Bull (1980). Robert De Niro, in what many critics believe to be one of the greatest performances in cinematic history. Martin Scorsese directs De Niro, Joe Pesci, and Cathy Moriarty is this "bio-pic" on the life and career of Jake La Motta. The boxing in this film is beautifully photographed, though graphically brutal. De Niro trained very hard at boxing for over a year before filming began. Red River (1948). John Wayne is the boss on a cattle drive during which Montgomery Clift leads a rebellion and takes over. Wayne and Clift have a rip roaring fist fight when the drive finishes in Abilene. Red Sonja (1985). Brigette Nielsen and Arnold Schwarzenegger star in this "Conan-esque" sword and sorcerer movie. Arnold and Brigette have a fairly lengthy fight (all in fun of course). The film offers plenty of fantasy broadsword action. Richard III (1955). Laurence Olivier, John Gielgud, and Ralph Richardson star in this Olivier directed production. There is some very impressive combat work on the field at Bosworth. Olivier took an all-too-real arrow in the calf! The film offers impressive armor, weapons, combat, and excellent acting as well. Robin and Marian (1976). Richard Lester directs as he visits Sherwood Forest when an older, but not necessarily wiser, Robin has returned from the Crusades. Sean Connery is Robin, Nicol Williamson is Little John, and Robert Shaw gives a great turn as the Sheriff of Nottingham. William Hobbs stages a very brutal duel with broadsword, shield, and battle axe between Robin and the Sheriff. Robin Hood, Prince of Thieves (1992). Kevin Costner stars with Alan Rickman. The film offers some broadsword, bow, and some quarterstaff as well. The final fight between Costner and Rickman sees more blows landing on the set than on the blades. Rob Roy (1950). Richard Todd and Glynis Johns star in one of Disney's drearier films. Todd leads a Scottish clan in an uprising against England's King George during the eighteenth century. The battle sequences are impressive, probably due to the fact that a Highland regiment supplied the extras. Rocky (1976). Sylvester Stallone wrote the script and had the good sense to hold on to it until he was signed to play the lead role. The final fight between Rocky and Apollo Creed is a bit heavy on blows to the head, but the fight definitely delivers emotionally. Rogues of Sherwood Forest (1956). John Derek, Diana Lynn, Alan Hale, and George Macready star. John Derek is the son of Robin Hood fighting for the Magna Carta with his broadsword on horseback. Romeo and Juliet (1936). Leslie Howard and Norma Shearer star. This version is well cast and well acted throughout. Basil Rathbone (Tybalt) and John Barrymore (Mercutio) supply some impressive rapier and dagger work.

294

Appendix B

Romeo and Juliet (1962). A Bolshoi Ballet production. This rendition offers some superb action and a red-headed, left-handed Tybalt offers up some red-hot rapier play. Useful for study for fight directors involved in staging swordplay for the ballet. Romeo and Juliet (1966). Legends Margot Fonteyn and Rudolph Nureyev star for the Royal Ballet. Fight directors may find observation of the fights useful if they are involved in staging fights for the ballet. Romeo and Juliet (1968). Leonard Whiting and Olivia Hussey star, ably supported by Milo O'Shea, John McEnry, and Michael York. A nice example of the early Agrippa style rapier at work. Whiting as Romeo and Michael York as Tybalt fight it out in the town square after Mercutio is accidentally killed by Tybalt. The Royal Family (1930). Cyril Gardner, Frederick March, Ina Claire, and Charles Starett star. An entertaining cinematic translation of the Kaufman/Ferber play about a theatrical family that bears an uncanny resemblance to the Barrymores. March is great fun in his John Barrymore role. The film offers an impressive fencing lesson scene. The Royal Flash (1975). Malcolm McDowell, Britt Eckland, Alan Bates, and Oliver Reed. McDowell (of A Clockwork Orange fame). An energetic, bordering on the slap-stick, sabre fight between McDowell and Bates is staged by William Hobbs. Saraband for Dead Lovers (1948). Stewart Granger and Joan Greenwood star. Granger is a count who falls for the wrong woman--the fiancee of the future George I of England. He ends up dead...but not until after some entertaining swordplay. Scaramouche (1952). Stewart Granger, Mel Ferrer, and Janet Leigh star. Granger is out to avenge his brother's death. The only problem is he cannot fence and the villain can, excellently. Stewart Granger loses to Mel Ferrer in a well-contrived fencing salle scene as Ferrer literally strips the plastron off of him. Granger gets his revenge on the ledges of the balcony, high above the seats of the Ambigu Theatre in eighteenth century Paris. The swordfights, still considered some of the best in cinematic history, were staged by Belgian fight director Jean Heremans. The Ambigu Theatre fight runs an incredible six minutes and thirty seconds. The Scarlet Pimpernel (1982). Not the original with Leslie Howard, but a television movie starring Anthony Andrews, Jane Seymore, and Ian McKellan. The film offers a nicely staged, if somewhat repetitious, sabre duel between Andrews and MacKellan after the Pimpernel mysteriously avoids the firing squad. The weapons used in the duel aren't really accurate for the period (German sabres), but the fight is still entertaining. The costumes and the sets are impressive. The sabre fight is done with what are essentially adjusted competitive weapons not the heavy bladed cavalry sabres of the Napoleonic ear. The Sea Hawk (1940). Errol Flynn stars as a privateer for Queen Elizabeth I. The film offers a lively blend of costumes, swordplay, romance, and adventure on the high seas. It also offers some nicely staged boarding

Selected Feature Films

295

scenes. The climax offers a nifty duel between Flynn and Henry Daniell in which Flynn cuts all the lit candles in the room. The Seven Percent Solution (1976). Herbert Ross directs Nicol Williamson as Sherlock Holmes. This is a new Sherlock Holmes adventure (penned by director Nicholas Meyer) which happens when Holmes is tricked into visiting Freud to treat his cocaine addiction. It also offers a great climactic sabre duel on top of a moving train between Holmes and his Prussian antagonist (Jeremy Kemp). Shane (1953). Alan Ladd is the mysterious stranger, Jack Palance is the villain, and Brandon De Wilde the young boy Shane befriends. The film offers a great shootout between Ladd and Palance and a tremendous fist fight when the local boys in the saloon decide to give Shane a rough time over ordering a soda. Sodom and Gomorrah (1962). Stewart Granger, Pier Angeli, and Stanley Baker star. Granger shows Baker that the (quarter) staff can be stronger than the sword. Somebody Up There Likes Me (1956). Paul Newman stars in this "bio-pic" based on the life of middleweight champion Rocky Graziano. Newman is charming, in an ingratiating way, in the role and is lithe and moves well in the fighting sequences. Sons of the Musketeers (1952). Cornel Wilde and Maureen O'Hara star. The fathers are too old, so the sons (and a daughter) must answer the Queen's call. A nice fencing lesson scene, with Maureen O'Hara bettering her master. Cornel Wilde is suitably triumphant in final duel on staircase. The film was also released under the title At Sword's Point. Fight Director Fred Cavens makes a cameo appearance as (what else?) the fencing master. The Sons of Katie Elder (1965). John Wayne and Dean Martin star. Typical but lively Western with the Duke, Dean, and Earl Holliman as brothers out to avenge their mother's death. The film offers moments of humor including a great brawl between the brothers. The Son of Monte Cristo (1940). Louis Hayward, Joan Bennett, and George Sanders star. This is a formula swashbuckler offered up in the typical 1940s studio style. Louis Hayward keeps busy battling with Sanders over Bennett. Nice sabre fight on the staircase between Sanders and Hayward. Set in the early French Republic. Spartacus (1961). Kirk Douglas and Jean Simmons star with Tony Curtis and Laurence Olivier. Directed by Stanley Kubrick, the film is based on an actual historical incident. Kirk Douglas stars as the gladiator who leads a slave rebellion against Rome. Woody Strode and Douglas engage in an impressive net and trident (Retiarius) versus short sword (Thracian) fight in the gladiatorial arena. The battle scenes are engrossing as the slaves and gladiators (unarmored) must battle against the heavily armored Roman Legions. Some of the battle tactics the slaves and gladiators utilize, such as rolling flaming logs downhill and into the advancing Legions, are interesting to note. The film also depicts gladiatorial training scenes which take place in the "Ludi" (training school) under the guidance of a gnarled and merciless Lanesta (head trainer).

296

Appendix B

The Spoilers (1914). A silent version with William Farnum and Tom Santaschi in the Western brawl to end all brawls. The Spoilers (1922). Another silent version of the 1914 original. This time Milton Sills and Noah Beery brawl away in the mud and the blood. The Spoilers (1930). This is the first "talkie" version of the classic. Paramount hired Farnum and Santaschi as consultants so as to recreate the now famous mud brawl; only this time with William Boyd and Gary Cooper in the roles. The Spoilers (1942). This time its John Wayne and Randolph Scott at each others throats. They pretty well destroy a saloon before they burst through the doors, out into the streets of the Klondike mining town that serves as the setting for the story. A truly great example of the barroom brawl. The Spoilers (1955). One more time around for this classic; this time in color, and starring Rory Calhoun and Jeff Chandler. This version does not quite have the punch of the earlier versions--but still has plenty of muddy punches to spare. Sword of Lancelot (1963). Cornel Wilde stars in another retelling of the Arthur Legend with lots of broadsword action and scenery. Taras Bulba (1962). Tony Curtis and Yul Brynner star. Curtis and Brynner as sixteenth century Cossacks at war with the Poles. Lots of Cossack sabre and Polish lance at work in the battle scenes. Three Hundred Spartans (1962). Richard Egan stars with Ralph Richardson, Diane Baker, and Barry Coe. Egan and his 299 hoplites attempt to hold Thermopylae against the Persians. The film offers some nice Spartan phalanx and "wedge" work with sword, shield, and spear. The Three Musketeers (1939). Don Ameche stars with the Ritz Brothers. A musical retelling of the musketeer story (reasonably faithful to the plot) with a likable Ameche cast as D'Artagnan. Those in need of costume and The swordplay in this weapons information will find it of some use. picture, as might be expected, tends to stress the comic. The Three Musketeers (1948). Gene Kelly shows how dancing helps with fencing footwork. Jean Heremans staged the swordplay. The impressive fight between the musketeers and the Cardinal's men at the beginning of the film was filmed at Busch Gardens in Pasadena, Ca. This duel held the record for the longest duel on the screen...until Heremans set a new record with Scaramouche. The viewer can spot Heremans fighting with, and losing to, Kelly on the beach. Kelly's athletic dancing style, which emphasizes a strong, vigorous line, translated well into swordplay. The Three Musketeers (1973). Richard Lester places tongue firmly in cheek and leads D'Artagnan (Michael York), Athos (Oliver Reed), Aramis (Richard Chamberlain), and Porthos (a padded and stack-heeled Frank Finley) through the paces. Flashy fights are staged by William Hobbs and include rapier and dagger, rapier and cloak, rapier and lantern, rapier and dirty clothes, rapier and just about anything imaginable. The Three Musketeers (1993). Keiffer Sutherland, Charlie Sheen, and Tim Curry star. All the character's names are there--but the story bears little resemblance to the Dumas classic. Comedy still reigns supreme in this

Selected Feature Films

297

version that features some of the Hollywood "Rat Pack." Some interesting fights (perhaps more for the way in which they have been filmed rather than the choreography) staged by Robert Anderson of The Princess Bride fame. Tom Jones (1963). Tony Richardson directs Albert Finney, Susannah York, Lynn Redgrave and David Warner. This is a lavishly produced adaptation of Henry Fielding's novel about the exploits of a rowdy eighteenth century English playboy. The film offers eighteenth century small-sword work, including a rather unorthodox encounter involving small-sword versus quarterstaff. Yet another fight is a somewhat vigorous duel in which both participants are armed with small-swords. The Tower of London (1939). Basil Rathbone as the power-crazed Richard III. This film is non-historical drama, not horror. A nice practice sequence with poleaxe is offered in the armory. Troy (2004). Brad Pitt, Eric Bana, Orlando Bloom, and Peter O'Toole star in Wolfgang Petersen's lavish adaptation of Homer's Iliad. Fight direction is supplied by Richard Ryan. The climactic spear and sword fight between Achilles (Pitt) and Hector (Bana) is, perhaps, one of the most creative oneon-one fights ever filmed. Valley of the Kings (1954). The story meanders a bit, but focuses on Robert Taylor attempting excavations in Egypt on tombs of the ancient pharaohs. Taylor duels with sword and shield against a Tuareg chief. The Vikings (1958) . Kirk Douglas, Janet Leigh, Tony Curtis, and Earnest Borgnine star. The film offers a great deal of action, including a rousing final broadsword combat between Curtis and Douglas on the castle turret. Famed Fight Director Paddy Crean makes an appearance and is unceremoniously dispatched by Tony Curtis. The War Lord (1965). Well done adaptation of Leslie Steven's The Lovers. The obsessed Charleton Heston is excellent as an eleventh century Norman overlord. Included is a rousing siege of a castle keep and some excellent medieval combat with the broadsword, axe, and various other weapons of the period.

APPENDIXC SUPPLIERS OF PERIOD STAGE WEAPONS AND ACCOUTREMENTS Alan Meek 180 Frog Grove Lane Wood Street Village Guildford, Surrey England GU3 3HD United Kingdom 011-44-148-323-4084 Theatrical weapons for stage and screen. The Armoury/American Fencers Supply 1180 Folsom St. San Francisco, CA 94103 415-863-7911 Competitive and theatrical weapons; videos and publications. Arms and Armor 1101 Stinson Blvd. NE Minneapolis, MN 55413 612-331-6473 Theatrical weapons, historical re-creations; memorabilia.

300

Appendix C

Art of the Sword 761 Calusa El Cerrito, CA 94530 415-526-3755 Theatrical weapons. Belle and Blade 124 Penn Ave. Dover, NJ 07801 201-328-8488 Theatrical weapons. Blade, Inc. 212 West 15 th Street New York, NY 10011 212-620-0114 Competition fencing equipment; limited period arms available. The Collector's Armoury, Inc. 800 Slaters Lane P.O. Box 1061, Dept. CA Alexandria, VA 22313 703-684-6111 Historical recreations and theatrical weapons . Eiler Robert Cook P.O. Box 188 Etowah, NC 28729 704-692-0323 Theatrical weapons. Fiocchi Sword Cutlery 305 E. State St. Athens, OH 45701 740-593-4263 Theatrical weapons

Suppliers of Period Stage Weapons and Accoutrements

Gratzner Period Accoutrements P.O. Box 12023 Marina Del Rey, CA 90295 310-823-2050 Accoutrements such as belts, frogs, hangers, scabbards, etc.

Dennis L. Graves: Swordcutler 255 St. 41st St. Boulder, CO 80303 303-494-4685 Theatrical weapons and historical re-creations.

Mark Haney 6000 J Street Sacramento, CA 95819 916-944-0252 Theatrical weapons including handmade broadswords.

Lundegaard Armoury P.O. Box 287 Crompond, NY 10517 914-271-9798 Theatrical and custom fantasy weapons.

Museum Replicas/Atlanta Cutlery 2143 Gees Mill Rd., Box 840 Conyers, GA 30207 800-241-3664 Historical re-creations, weapons, period costumes, and publications. Ramshead Armoury P.O. Box 653 Champaign, IL 61820 217-351-7232 Theatrical weapons.

Rogue Steel 3738 Blanchan Ave. Brookfield, Illinois 60513 708-485-2089 Theatrical Weapons

301

302

Appendix C

Stages Unlimited, Inc. 635 Dee Road Park Ridge, IL 60068 312-698-6545 Theatrical weapons for stage and screen.

Triplette Competition Arms 162 W. Pine St. Mt. Airy, NC 27030 919-786-5294 Competition weapons and equipment, theatrical weapons, videos, and

Steve Vaughan 800 Vernal Road Attica, NY 14011 716-474-1160 Custom made theatrical weapons; rental and sales.

Vulcan's Forge Lewis Shaw, Proprietor 330 W. 23rd. St. Baltimore, Md. 21211 410-340-1461 Theatrical weapons and historical re-creations.

Weapons of Choice 4075 Browns Valley Rd. Napa, CA 94558 707-226-2845 Theatrical cut and thrust weapons.

APPENDIXD SELECTED PUBLISHERS, DISTRIBUTORS, AND PERIODICALS PUBLISHERS Bantam Doubleday Dell School and Library Marketing Department 1540 Broadway New York, NY 10036 Request the Complete College Catalogfor All Academic Disciplines.

Delta Press, Ltd. P. O. Box 1625 Dept. V34 215 S. Washington St. EI Dorado, AR 71731 1-501-862-4984 FAX: 501-862-9671 Request their current catalogue of publications, including books and videos.

Loompanics Unlimited P. O. Box 1197 Port Townsend, WA 98368 Request their current catalogue (which they refer to as A Sampler of Unusual Books from the Best Book Catalogue in the World).

304

Appendix D

Paladin Press P. O. Box 1307 Boulder, CO 80306 303-443-7250 1-800-835-2246 ext. 21 (to place orders) Request their current catalogue of publications, including books and videos.

Stackpole Books (U.S. distributor for Osprey, Ltd.) 5067 Ritter Rd. Mechanicsburg, PA Phone: 800-732-3669 Fax: 717-796-0412 Request their Osprey publications brochure, which lists their complete Menat-Arms, Elite, and Campaign Series of publications. They also regularly publish the Stackpole Military Publications Catalogue. This publisher is an excellent resource for the fight director, director, actor-combatant, dramaturg, or costumer interested in historical research.

Webster's Unified 333 Post Road West Westport, CT 06889 Request information on the Combat and Survival Series.

DISTRIBUTORS Barnes & Noble 126 Fifth Ave. New York, NY 10011 Request their catalogues on Ancient, Classical, and Medieval History.

The Military Book Man, Ltd. 29 East 93 rd Street New York, NY 10128 (212) 348-1280 Military, naval, and aviation history. Out-of-print and rare books.

Selected Publishers, Distributors, and Periodicals

305

Rutgers Book Center 127 Raritan Avenue Highland Park, NJ 08904 201-545-4344 Request the complete Rutgers Bookcenter Catalogue.

PERIODICALS Armor. (Journal of the U.S. Cavalry Association), u.S. Army Armor Center, Attention: ATSB-MAG, Fort Knox, KY 40121; (502) 624-2249. ISSN: 0004-2420. This bi-monthly journal contains analysis of military history, research and development related to military hardware, tactical doctrine of mobile warfare, and logistics. Army: Combat Forces Journal. Association of the U.S. Army, 2425 Wilson Blvd., Arlington, VA 22201 (703) 841-4300. ISSN: 0004-2455. Each monthly edition is devoted to the military arts and sciences and examines defense, current events, and military history. Council on America's Military Past Journal. Council on America's Military Past, Box 1151, Fort Meyer, VA 22211; (602) 299-0359. A quarterly journal offering scholarly articles on military history.

The Fight Director: Journal of the Society of British Fight Directors. Steve Wilsher, Humber Institute of Technology and Advanced Learning. North Campus 205 Humber College Blvd., Toronto, Ontario, Canada M9W 5L7

416-675-6622 ext. 2915 Note: The Society of British Fight Directors has recently split into two new organizations, the British Academy of Stage and Screen Combat, and the British Academy of Dramatic Combat. However, past editions of The Fight Director would remain an invaluable resource for the fight director. This organizational journal contains a wide variety of articles which examine such diverse topics as the history of personal combat, the history of weapons (edged and firearms) , famous duelists, well known swordsmen of the stage and screen, book and video reviews, weapons maintenance, and

306

Appendix D information on the former Society of British Fight Directors and its membership.

The Fight Master: Journal of the Society of American Fight Directors. Linda McCollum, editor, Department of Theatre, 4505 Maryland Parkway University of Nevada, Las Vegas, NV 89154-5044 (702-895-3662) This organizational journal is published in the Fall and Spring of each year. For a sampling of the range of articles please see the annotation for The Fight Director. Infantry. "Infantry School Quarterly," Infantry Magazine, Box 2005, Fort Benning, GA 31905-0605 (404-545-2350). ISSN: 0019-9532. This quarterly magazine offers articles on various military subjects but takes as its primary focus infantry organization, weapons, equipment, tactics and techniques, and relevant historical subjects. An excellent resource for those involved in researching the individual infantryman and the tactics and strategies of the battlefield. Military History. Empire Press, 105 Louden St., SW, Leesburg, VA 22075 (703) 771-9400. ISSN: 0889-7328. This bi-monthly magazine offers vibrant and accurate articles on military history. It brings several land, sea, and air battles (from ancient history to modern warfare) to life in each issue. Naval History. U.S. Naval Institute, Preble Hall, Annapolis, MD 21402 (301) 268-6110. ISSN: 1042-1920. A quarterly journal devoted entirely to naval history and warfare at sea. Journal of Military History. Society for Military History, c/o Virginia Military Institute, Lexington, VA (703) 464-7468. ISSN: 0026-3931.

A scholarly journal devoted to articles and reviews on various aspects of military history.

APPENDIXE BOOKS, ARTICLES, AND VIDEO TITLES BY CATEGORY AND HISTORICAL PERIOD

These titles are organized so as to facilitate the reader's attempt to locate specific bibliographic entries by category or historical period. Each category is listed in order along with the page number the category begins on in this appendix. Titles are listed alphabetically within each category appearing in the bibliography. Each title is then followed by the appropriate entry letter and number (e.g. "A46" would be the forty-sixth entry in the "Articles Chapter;" similarly, "B57" would be the fifty-seventh entry in the "Books Chapter;" and "VIO" would be the tenth entry in the "Videos Chapter." The page number for the entry is also included in each entry. What immediately follows is a "table of contents" for this chapter. Stone Age Bronze Age Iron Age Dark Ages Viking Period Middle Ages Renaissance Transition Period Eighteenth Century Unarmed Combat "How-To" Publications

308 308 310 312 314 316 319 324 325 331 332

308

Appendix E

STONE AGE

Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p. 207. Byam, Michelle. Arms and Armor. (B 28) p. 60. Coe, M., P. Connolly, A. Harding, V. Harris, D. J. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. (B 38) p.71. Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time) . (B 43) p. 78. Dupuy, Col. T. N. The Evolution of Weapons and Warfare. (B 47) p. 82. Harding, David (ed.). Weapons: An International Encyclopediafrom 5,000 B.C to 2,000 A.D. (B 60) p.98. Howard, John T. , Jr. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p.222. Lacombe, M. P. Arms and Armour in Antiquity and the Middle Ages. (B 79) p. 116. MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 121. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p. 252. Mayes, Jim. How to Make Your Own Knives. (B 90) p. 130. Peterson, Harold L. Daggers and Fighting Knives of the Western World (from the Stone Age til 1900). (B 107) p. 146. Reid, William. Arms Through the Ages. (B 112) p. 152. Sanchez, John . Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155. Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Steiner, Bradley 1. No Second Chance: Disarming the Armed Assailant. (B 125 p. 164. Stone, George Cameron. A Glossary of the Construction, Decoration and Use ofArms and Armor in All Countries and All Times. (B 126) p. 166. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons. (B 130) p. 171. Tunis, Edwin. Weapons: A Pictorial History. (B 138) p. 178. Wilkinson, Frederick. Arms and Armour. (B 151) p. 195. Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200. Wise, Terence. European Edged Weapons. (B 160) p.203.

BRONZE AGE

Allanson-Winn, R. G. and C. Phillips-Wooley. Broad-Sword and Single-Stick. (B 2) p.32 .

Books, Articles, and Video Titles by Category and Historical Period

309

Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p.207. Boushey, David L. Combat for the Stage: Medieval Weaponry (Segment #1) . (V I) p. 233. BulI, Stephen. An Historic Guide to Arms and Armor. (B 26) p. 58. Byam, Michelle. Arms and Armor. (B 28) p. 60. Cassidy, William. The Complete Book ofKnife Fighting. (B 31) p. 63. Cassin-Scott, Jack. The Greek and Perian Wars 500-323 B.C. (B 32) p.96. Coe, M., P. Connolly, A. Harding, V. Harris, D. 1. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. (B 38) p.71. Cook, Brian F. "Footwork in Ancient Greek Swordsmanship." The Metropolitan Museum Journal. (A 13) p.212. Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time). (B 43) p. 78. Dupuy, Col. T. N. The Evolution of Weapons and Waifare. (B 47) p.82. Edmond, James (ed.). Violence in Drama. (B 110) p. 149. Grancsay, Stephen. Arms and Armor. (B 56) p. 94. Harding, David (ed.). Weapons: An International En cyclopedia from 5,000 B.C. to 2,000 A.D. (B 60) p. 98. Holden, Matthew. The Legions ofRome. (B 69) p. 106. Howard, Jr., John T. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p.222. Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Perfection. (B 71) p. 107. Koch, H. W. History of Waifare. (B 78) p. 115. Lacombe, M. P. Arms and Armour in Antiquity and the Middle Ages. (B 79) p. 116. Latham, Sid. Knifecraft. (B 81) p. 119. Lane, Richard. Swashbuckling. (B 80) p. 117. MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 121. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p. 252. Martinez, 1. D. The Swords ofShakespeare. (B 87) p. 125. Mayes, Jim. How To Make Your Own Knives. (B 90) p. 130. Norman, A. V. B. A History of War and Weapons, 449-1660: English Warfare from the Anglo-Saxons to Cromwell. (B 100) p. 139. Peterson, Harold L. Daggers and Fighting Knives of the Western World (from the Stone Age till 1900). (B 107) p. 146. Reid, William. Arms Through the Ages. (B 112) p. 152. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155. Sekunda, Nicholas and McBride, Angus. The Ancient Greeks. (B 117) p. 156. Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Simkins, Michael. Warriors ofRome. (B 122) p. 162. Snodgrass, A. M. Arms and Armour of the Greeks. (B 123) p. 162.

310

Appendix E

Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p. 164. Stone, George Cameron. A Glossary of the Construction, Decoration and Use ofArms in All Countries and All Times. (B 126) p. 166. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons. (B 130) p. 171. Treece, Henry and Ewart Oakeshott. Fighting Men. (B 136) p. 176. Trevino, Rafael and Angus McBride. Rome's Enemies (4) : Spanish Armies. (B 99) p. 138. Tunis, Edwin. Weapons: A Pictorial History. (B 138) p. 178. Turner, Sir James. Pallas Armata: Military Essayes of the Ancient Grecian, Roman, and Modern Art of War Written in the Years 1670 and 1671. (B 141) p. 180. von Bothmer, Dietrich. "Armorial Adjuncts." The Metropolitan Museum Journal. (A 49) p. 230. Vuksic, V. and Z. Grbasic. Cavalry: The History ofA Fighting Elite. (B 145) p.186. Warry, John. Alexander 334-323 B.C.: Conquest of the Persian Empire. (B 149) p. 193. Wilcox, Peter and G. A. Embleton. Rome's Enemies (1): Germanics and Dacians. (B 150) p. 194. Wilkinson, Frederick. Arms and Armour. (B 151) p. 195. Wilkinson, Frederick. Swords and Daggers. (B 152) p. 195 . Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200 Wise, Arthur. Weapons in the Theatre. (B 158) p.201. Wise, Terence. European Edged Weapons. (B 160) p.203.

IRON AGE Allanson-Winn, R. G. and C. Phillips-Wooley. Broad-Sword and Single-Stick. (B 2) p. 32. Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p. 207. Boushey, David L. Combat for the Stage: Medieval Weaponry (Segment #l). (V 1) p.233. Bull, Stephen. An Historic Guide to Arms and Armor. (B 26) p. 58 . Byam, Michelle. Arms and Armor. (B 28) p. 60 . Cassidy, William. The Complete Book ofKnife Fighting. (B 31) p. 63 . Coe, M., P. Connolly, A. Harding, V. Harris, D. 1. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. (B 38) p.71. Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time) . (B 43) p. 78. Dupuy, Col. T. N. The Evolution of Weapons and Warfare. (B 47) p.82 .

Books, Articles, and Video Titles by Category and Historical Period

311

Edmond, James (ed.). Violence in Drama. (B 110) p. 149. Girard, Dale Anthony. The Fight Arranger's Companion. (B 55) p.92. Grant, Michael. Gladiators. (B 57) p. 93 .. Grancsay, Stephen. Arms and Armor. (B 56) p. 94. Harding, David (ed.). Weapons: An International Encyclopediafrom 5,000 B.C. to 2,000 A.D. (B 60) p. 98. Holden, Matthew. The Legions ofRome. (B 69) p. 106. Howard, Jr., John T. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p.222. Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Perfection . (B 71) p. 107. Koch, H. W. History of Warfare. (B 78) p. 115. Lacombe, M. P. Arms and Armour in Antiquity and the Middle Ages. (B 79) p. 116. Lane, Richard. Swashbuckling. (B 80) p. I 17. Latham, Sid. Knifecraft. (B 81) p. 119. MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 12I. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p. 252. Mayes, Jim. How To Make Your Own Knives. (B 90 p. 130. Newark, Tim. The Barbarians. (B 96) p. 135. Nicolle, David and Angus McBride. Rome's Enemies (4): The Desert Frontier. (B99) p. 138. Norman, A. V. B. A History of War and Weapons, 449-1660: English Warfare from the Anglo-Saxons to Cromwell. (B 100) p. 139. Peterson, Harold L. Daggers and Fighting Knives of the Western World (from the Stone Age till 1900). (B 107) p. 146. Reid, William. Arms Through the Ages. (B 112) p. 152. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155. Sekunda, Nicholas and Angus McBride. The Ancient Greeks. (B 117) p. 156. Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Simkins, Michael and Ron Embleton. The Roman Army from Caesar to Trajan. (B 121) p. 161. Simkins, Michael. Warriors ofRome. (B 122) p. 162. Snodgrass, A. M. Arms and Armour ofthe Greeks. (B 123) p. 162. Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p. 164. Stone, George Cameron. A Glossary of the Construction, Decoration and Use ofArms in All Countries and All Times. (B 126) p. 166. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons. (B 130) p. 171. Treece, Henry and Ewart Oakeshott. Fighting Men. (B 136) p. 176. Trevino, Rafael and Angus McBride. Rome's Enemies (4): Spanish Armies. (B 99) p. 138.

312

Appendix E

Tunis, Edwin. Weapons: A Pictorial History. (B 138) p. 178. Turner, Sir James. Pallas Armata: Military Essayes of the Ancient Grecian, Roman, and Modern Art of War Written in the Years 1670 and 1671. (B 141) p. 180. Vuksic, V. and Z. Grbasic. Cavalry: The History of A Fighting Elite. (B 145) p.186 . Wagner, Eduard. Cut and Thrust Weapons. (B 146) p. 190. Warry, John. Alexander 334-323 B.C.: Conquest of the Persian Empire. (B 149) p. 193. Wilcox, Peter and G. A. Embleton. Rome's Enemies (1): Germanics and Dacians. (B 150) p. 194. Wilkinson, Frederick. Arms and Armour. (B 151) p. 195. Wilkinson, Frederick. Swords and Daggers. (B 152) p. 195 . Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200. Wise, Arthur. Weapons in the Theatre. (B 158) p.201. Wise, Terence and Richard Hook. Armies of the Carthaginian Wars 265-146 B.C. (B 159) p.202 . Wise, Terence. European Edged Weapons. (B 160) p.203 .

DARK AGES

Allanson-Winn, R. G. and C. Phillips-Wooley. Broad-Sword and Single-Stick. (B 2) p.32. Ashdown, Charles. Armour and Weapons in the Middle Ages. (B 7) p.37. Baldick, Robert. The Duel: A History ofDueling. (B 12) p. 42 . Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p.207 . Blackmore, Howard L. Arms and Armour. (B 17) p.47. Boushey, David L. Combat for the Stage: Medieval Weaponry (Segment #1). (VI) p. 233. Bull, Stephen. An Historic Guide to Arms and Armor. (B 26) p. 58. Byam, Michelle. Arms and Armor. (B 28) p. 60. Cassidy, William. The Complete Book ofKnife Fighting. (B 31) p.63. Coe, M., P. Connolly, A. Harding, V. Harris, D. 1. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. (B 38) p.71. Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time). (B 43) p. 78. Donovan, Frank R. The Vikings. (B 45) p. 80. Dupuy, Col. T. N. The Evolution of Weapons and Waifare. (B 47) p. 82. Edge, David and John Miles Paddock. Arms and Armor ofthe Medieval Knight: An Illustrated History of Weaponry in the Middle Ages. (B 49) p. 84. Forrest, Kris L. and Peter Story Pentz. "Constructing Broadswords for the Theatre." Theatre Crafts Magazine. (A 22) p. 217 .

Books, Articles, and Video Titles by Category and Historical Period

313

Girard, Dale Anthony. The Fight Arranger's Companion. (B 55) p. 92. Grancsay, Stephen. Arms and Armor. (B 56) p. 94. Graves, Dennis. "A Discussion of Sword Nomenclature." The Fight Master: Journal ofthe Society ofAmerican Fight Directors. (A 29) p. 220. Harding, David (ed.). Weapons: An International Encyclopedia from 5,000 B.C to 2,000 A.D. (B 60) p.98 . Hardy, Robert. Longbow: A Social and Military History. (B 61) p.99. Heath, Ian and Angus McBride. Byzantine Armies 886-1118. (B 65) p. 118. Hobbs, William. Stage Combat: "The Action To The Word." (B 67) p. 143. Hoff, Michael and Natan Katzman (ex. Prods.) Deadly Duels: A Three Video Set. (V 4) p. 241. Holen, Rick. "Outfit an Army for Under $100." Theatre Crafts Magazine. (A 31) p.221. Howard, Jr., John T. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p.222. Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Perfection . (B 71) p. 107. Hutton, Alfred. The Sword and the Centuries, or Old Sword Days and Old Sword Ways. (B 73) p. 109. Keegan, John. The Face ofBattle. (B 75) p. III. Koch, H. W. History of Warfare. (B 78) p. liS . Lacombe, M. P. Arms and Armour in Antiquity and the Middle Ages. (B 79) p. 116. Lane, Richard. Swashbuckling. (B 80) p. 117. Latham, Sid. Knifecraft. (B 81) p. 119 MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 121 . MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques . (V 10) p. 252. Marshall, Dorothy. "Fighting the Myth of Metal." Theatre Crafts Magazine. (A 36) p. 223 . Marshall, Dorothy and Deborah Levin. "Knitting Chainmail." Theatre Crafts Magazine. (A 37) p. 223. Marshall, Henry. Stage Swordplay or "So you want to be Errol Flynn ?" (B 85) p. 123 . Martinez, J. D. The Swords ofShakespeare. (B 87) p. 125. Mayes, Jim. How To Make Your Own Knives. (B 90) p. 130. Mclan, R. R. and James Logan. The Clans of the Scottish Highlands. (B 92) p. 131. Newark, Tim. The Barbarians. (B 96) p. 135. Nicolle, David and Angus McBride. The Age ofCharlemagne. (B 97) p. 136. Norman, A. V. B. A History of War and Weapons, 449-1660: English Warfare from the Anglo-Saxons to Cromwell. (B 100) p. 139. Oxenstierna, Count Eric. The Norsemen. (B 104) p. 143. Palfy-Alpar, Julius . Sword and Masque. (B lOS) p. 143 . Payne-Galway, Sir Ralph. The Crossbow. (B 106) p. 145.

314

Appendix E

Peterson, Harold L. Daggers and Fighting Knives of the Western World (from the Stone Age till 1900). (B 107) p. 146. Reid, William. Arms Through the Ages. (B 112) p. 152. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155. Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p. 164. Stone, George Cameron. A Glossary of the Construction, Decoration and Use ofArms in All Countries and All Times. (B 126) p. 166. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons. (B 130) p. 171. Treece, Henry and Ewart Oakeshott. Fighting Men . (B 136) p. 176. Tunis, Edwin. Weapons: A Pictorial History. (B 138 p. 178. Vuksic, V. and Z. Grbasic. Cavalry: The History ofA Fighting Elite. (B 145) p. 186. Wagner, Eduard. Cut and Thrust Weapons. (B 146) p. 190. Wilkinson, Frederick. Arms and Armour. (B 151) p. 195 . Wilkinson, Frederick. Swords and Daggers. (B 152) p. 195. Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200. Wise, Arthur. Weapons in the Theatre. (B 158) p. 201. Wise, Terence. European Edged Weapons. (B 160) p. 203 .

VIKING PERIOD Allanson-Winn, R. G. and C. Phillips-Wooley. Broad-Sword and Single-Stick. (B 2) p.32. Ashdown, Charles. Armour and Weapons in the Middle Ages. (B 7) p.37. Baldick, Robert. The Duel: A History ofDueling. (B 12) p. 42. Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p.207. Boushey, David L. Combat for the Stage: Medieval Weaponry (Segment #1) . (V 9) p.233. Bull, Stephen. An Historic Guide to Arms and Armor. (B 26) p. 58. Cassidy, William. The Complete Book ofKnife Fighting. (B 31) p.63. Coe, M., P. Connolly, A. Harding, V. Harris, D. J. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons . (B 38) p.71. Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time). (B 43) p. 78. Donovan, Frank R. The Vikings. (B 45) p. 80. Dupuy, Col. T. N. The Evolution of Weapons and Warfare. (B 47) p.82 . Forrest, Kris L. and Peter Story Pentz. "Constructing Broadswords for the Theatre." Theatre Crafts Magazine. (A 22) p. 217.

Books, Articles, and Video Titles by Category and Historical Period

315

Girard, Dale Anthony. The Fight Arranger's Companion . (B 55) p. 92. Grancsay, Stephen. Arms and Armor. (B 56) p. 94. Graves, Dennis. "A Discussion of Sword Nomenclature." The Fight Master: Journal ofthe Society ofAmerican Fight Directors. (A 29) p. 220. Harding, David (ed.). Weapons: An International Encyclopediafrom 5,000 B.C. to 2,000 A.D. (B 60) p.98. Hardy, Robert. Longbow: A Social and Military History. (B 61) p.99. Hobbs, William. Stage Combat: "The Action To The Word." (B 67) p. 143 . Hoff, Michael and Natan Katzman (ex. Prods.) Deadly Duels: A Three Video Set. (V 4) p.241. Holen, Rick. "Outfit an Army for Under $100." Theatre Crafts Magazine. (A31) p.221. Howard, Jr., John T. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p.222. Hrisoulas, Jim. The Complete Bladesmith : Forging Your Way to Perfection. (B 71) p. 107. Keegan, John. The Face ofBattle. (B 75) p. III . Koch, H. W. History of Warfare. (B 78) p. 115. Lane, Richard. Swashbuckling. (B 80) p. 117. Latham, Sid. Knifecraft. (B 81) p. 119. MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 121. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p. 252. Marshall, Dorothy. "Fighting the Myth of Metal." Theatre Crafts Magazine. (A 36) p. 223 .. Marshall, Henry. Stage Swordplay or "So you want to be Errol Flynn?" (B 85) p. 123. Martinez, J. D. The Swords ofShakespeare. (B 87) p. 125. Mayes, Jim. How To Make Your Own Knives. (B 90) p. 130. McIan, R. R. and James Logan. The Clans of the Scottish Highlands . (B 92) p. 131. Newark, Tim. The Barbarians. (B 96) p. 135. Norman, A. V. B. A History of War and Weapons, 449-1660: English Warfare from the Anglo-Saxons to Cromwell. (B 100) p. 139. Oakeshott, R. Ewart. European Weapons and Armour. (B 103) p. 141. Oxenstiema, Count Eric. The Norsemen . (B 104) p. 143. Palfy-Alpar, Julius. Sword and Masque. (B 105) p. 143. Payne-Galway, Sir Ralph. The Crossbow. (B 106) p. 145. Reid, William. Arms Through the Ages. (B 112) p. 152. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155. Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p. 164. Stone, George Cameron. A Glossary of the Construction, Decoration and Use ofArms in All Countries and All Times . (B 126) p. 166.

316

Appendix E

Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons . (B 130) p. 171. Treece, Henry and Ewart Oakeshott. Fighting Men . (B 136) p. 176. Tunis, Edwin. Weapons: A Pictorial History. (B 138) p. 178. Vuksic, V. and Z. Grbasic. Cavalry: The History ofA Fighting Elite. (B 145) p.186. Wagner, Eduard. Cut and Thrust Weapons. (B 146) p. 190. Wilkinson, Frederick. Swords and Daggers. (B 152) p. 195. Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200. Wise, Arthur. Weapons in the Theatre. (B 158) p. 20 I. Wise, Terence. European Edged Weapons. (B 160) p.203 .

MIDDLE AGES Allanson-Winn, R. G. and C. Phillips-Wooley. Broad-Sword and Single- Stick. (B 2) p.32. Allcock, Hubert. Heraldic Design: Its Origins, Ancient Forms and Modern Usage. (B 3) p. 33 . Ashdown, Charles. Armour and Weapons in the Middle Ages. (B 7) p. 37. Aylward, J. D. The English Master ofArms, from the Twelfth to the Twentieth Century. (B 9) p. 39. Baldick, Robert. The Duel: A History ofDueling. (B 12) p.42. Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p.207. Barber, Richard. The Knight and Chivalry. (B 14) p.44. Behlmer, Rudy. "Swordplay on the Screen." Films in Review. (A 6) p.208. Blackmore, Howard L. Arms and Armour. (B 17) p. 47. Blair, Claude. European Armour. (B 19) p. 80. Boushey, David L. Combat for the Stage: Medieval Weaponry (Segment #1). (V I) p.233. Bull, Stephen. An Historic Guide to Arms and Armor. (B 26) p. 58. Byam, Michelle. Arms and Armor. (B 28) p. 60. Cassidy, William. The Complete Book ofKnife Fighting. (B 31) p. 63. Castle, Egerton. Schools and Masters ofFence. (B 33) p.65. Clements, John. Renaissance Swordsmanship. (B 36) p.69. Clephan, R. Coltman. The Tournament: Its Periods and Phases. (B 37) p.70. Coe, M., P. Connolly, A. Harding, V. Harris, D. 1. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. (B 38) p.71. Conwell, Charles. "A Museum for the 21 st Century." The Fight Master. (A II) p.21O. Conwell, Charles. "Of Fights and Films: A Conversation with William Hobbs." The Fight Master. (A 12) p. 2 I I.

Books, Articles, and Video Titles by Category and Historical Period

317

Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time). (B 43) p. 78. Dillon, Jr. , Robert. Towards a Theatrical Hoplology. (B 44) p. 79. "Dueling in the Time of Brantome." The Quarterly Review. (A 18) p. 215. Dufty, Arthur Richard. European Armour in the Tower of London. (B 46) p.81. Dupuy, Col. T. N. The Evolution of Weapons and Warfare. (B 47) p.82. Edge, David and John Miles Paddock. Arms and Armor ofthe Medieval Knight: An Illustrated History of Weaponry in the Middle Ages. (B 49) p.84. Evered, Derek. "A Tactical Course At Sabre." Fencing. (A 20) p.216. Forrest, Kris L. and Peter Story Pentz. "Constructing Broadswords for the Theatre." Theatre Crafts Magazine. (A 22) p. 217. Girard, Dale Anthony. The Fight Arranger's Companion . (B 55) p.92. Grancsay, Stephen. "The Armor of Galiot De Genouilhac." The Metropolitan Museum ofArt Papers. (A 28) p. 219 Grancsay, Stephen. Arms and Armor. (B 56) p. 94. Graves, Dennis. "A Discussion of Sword Nomenclature." The Fight Master: Journal ofthe Society ofAmerican Fight Directors. (A 29) p. 220. Gravett, Christopher. Hastings 1066: The Fall of Saxon England. (B 58) p.97. Gravett, Christopher and Richard Hook. Medieval Siege Warfare. (B 59) p.98. Hammer, L. "Ralph Faulkner: The Last Swashbuckler." American Fencing. (A 30) p. 220. Harding, David (ed.). Weapons: An International Encyclopedia from 5,000 B.C. to 2,000 A.D. (B 60) p. 98. Hardy, Robert. Longbow: A Social and Military History. (B 61) p. 99 Heath, Ian and Angus McBride. Byzantine Armies 886-1118. (B 65) p. 118. Hindley, Geoffrey. Medieval Warfare. (B 66) p. 103. Hobbs, William. Fight Directionfor the Stage and Screen. (B 67) p. 104. Hoff, Michael and Natan Katzman (ex. Prods.) Deadly Duels: A Three Video Set. (V 4) p.241. Holen, Rick. "Outfit an Army for Under $100." Theatre Crafts Magazine. (A 31) p. 221. Holmes, M. R. Arms and Armour in Tudor and Stuart London . (B 70) p. 107. Howard, Jr., John T. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p. 222. Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Perfection. (B 71) p. 107. Hutton, Alfred. The Sword and the Centuries, Or Old Sword Days and Old Sword Ways. (B 73) p. 109. Jeffreys, Steven. A Medieval Seige. (B 74) p. 110. Keegan, John. The Face ofBattle. (B 75) p. Ill. Kiernan, V. G. The Duel in European History; Honour and the Reign of Aristocracy. (B 76) p. 113 .

318

Appendix E

Koch, H. W. History of Warfare. (B 78) p. 115. Lacombe, M. P. Arms and Armour in Antiquity and the Middle Ages. (B 79) p. 116. Lane, Richard. Swashbuckling. (B 80) p. 117. Latham, Sid. Knifecraft. (B 81) p. 119. Loades, Mike. The Blow By Blow Guide to Swordjighting in the Renaissance Style . (V 9) p.249. MacYoung, Marc "Anima1." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 121. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p. 252. Marshall, Dorothy. "Fighting the Myth of Meta1." Theatre Crafts Magazine. (A 36) p. 223. Marshall, Dorothy and Deborah Levin. "Knitting Chainmai1." Theatre Crafts Magazine. (A 37) p.223 . Marshall, Henry. Stage Swordplay or "So you want to be Errol Flynn?" (B 85) p. 123. Martinez, J. D. The Swords ofShakespeare. (887) p. 125. Mayes, Jim. How To Make Your Own Knives. (B 90) p. 130. McIan, R. R. and James Logan. The Clans of the Scottish Highlands. (B 92) p. 131. Newark, Tim. The Barbarians . (B 96) p. 135. Nickel, Helmut. "Some Heraldic Fragments Found at Castle Montfort/Starkenberg in 1926, and the Arms of the Grand Master of the Teutonic Knights." The Metropolitan Museum Journal. (A 44) p. 227. Nicolle, David and Angus McBride. The Age ofCharlemagne. (B 97) p. 136. Nicolle, David and G. A. Embleton. Italian Medieval Armies. (B 98) p. 137. Norman, A. V. B. A History of War and Weapons, 449-1660. (B 100) p. 139. Oakeshott, R. Ewart. European Weapons and Armour. (B 103) p. 141. Oxenstierna, Count Eric. The Norsemen. (B 104) p. 143. Palfy-Alpar, Julius. Sword and Masque. (B 105) p. 143 . Payne-Gallway, Sir Ralph. The Crossbow. (B 106) p. 145. Peterson, Harold L. Daggers and Fighting Knives of the Western World (from the Stone Age till 1900). (B 107) p. 146. Pyhrr, Stuart. "European Armor from the Imperial Ottoman Arsena1." The Metropolitan Museum Journal. (A 46) p. 228. Reid, William. Arms Through the Ages. (B 112) p. 152. Richards, Jeffrey. Swordsmen of the Screen : From Douglas Fairbanks to Michael York. (B 113) p. 152. Rothero, Christopher. The Armies ofCrecy and PoWers. (B 115) p. 154. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155 Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p. 164. Still, Collin. Masters of Defence: Civilian Swords and Swordsmanship in Europe 1500-1800. (V 15) p. 259 .

Books, Articles, and Video Titles by Category and Historical Period

319

Stone, George Cameron. A Glossary of the Construction, Decoration and Use ofArms in All Countries and All Times. (B 126) p. 166. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Suddeth, 1. Allen. Fight Directing for the Theatre. (B 128) p. 167. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons . (B 130) p.17\. Treece, Henry and Ewart Oakeshott. Fighting Men . (B 136) p. 176. Tunis, Edwin. Weapons: A Pictorial History. (B 138) p. 178 . Turnbull, Stephen. The Book of the Medieval Knight. (B 139) p. 178. von Volborth, Carl-Alexander. Heraldry: Customs, Rules and Styles. (B 144) p. 185. Vuksic, V. and Z. Grbasic. Cavalry: The History ofA Fighting Elite. (B 145) p.186. Wagner, Eduard. Cut and Thrust Weapons. (B 146) p. 190. Wagner, Eduard. Medieval Custume, Armour and Weapons. (B 146) p. 241. Walker, Donald. Defensive Exercises; Comprising Wrestling, Boxing, Defence Against Brute Force, By Various Means; Fencing and Broad Sword, with Simpler Methods; The Gun, and its Exercise; The Rifle, and its exercise. (B 148) p. 19\. Wilkinson, Frederick. Arms and Armour. (B 151) p. 195. Wilkinson, Frederick. Swords and Daggers. (B 152) p. 195 . Wilkinson-Latham, Robert. Phaidon Guide to Antique Weapons and Armour. (B 153) p. 197. Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Willers, Johannes. "Armor of Nuremburg." Gothic and Renaissance Art in Nuremburg, 1300-1500. (A 50) p.230. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200. Wise, Arthur. Weapons in the Theatre. (B 158) p.201. Wise, Terence. European Edged Weapons. (B 160) p.203. Wise, Terence and Gerald Embleton. Medieval European Armies. (B 161) p.204 .

RENAISSANCE Alaux, Michel. Modern Fencing: Foil, Epee, and Sabre. (B 1) p. 31. Allanson-Winn, R. G. and C. Phillips-Wooley. Broad-Sword and Single- Stick. (B 2) p. 32. "American Pole Arms or Shafted Weapons." The Bulletin of the Fort Ticonderoga Museum. (A 1) p. 205. A New Book ofSports. (B 4) p. 34. Annis, P. G. W. Naval Swords: British and American Edged Weapons 16601815. (B 6) p.36. "A 'Non-boring' History ofStage Combat.. " The Fight Master. (A 2) p.206. Asquith, Stuart and Chris Warner. New Model Army 1645-60. (B 8) p.38. Aylward, J. D. The English Master of Arms, from the Twelfth to the Twentieth Century. (89) p. 39.

320

Appendix E

Baldick, Robert. The Duel: A History ofDueling. (B 12) p. 42. Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p.207. Barbasetti, Luigi. The Art ofthe Sabre and Epee. (B 13) p.43. Barthop, Michael and G. A. Embleton. The Jacobite Rebellions 1689-1745. (B 15) p. 46. Behlmer, Rudy. "Swordplay on the Screen." Films in Review. (A 6) p.208. Blackmore, Howard L. Arms and Armour. (B 17) p.47. Blair, Claude. "A Royal Swordsmith and Damascener: Diego de Caias." The Metropolitan Museum Journal. (A 7) p. 208. Blair, Claude. European and American Arms circa 1100-1850. (B 18) p.48. Bosenquet, Henry T. A. The Naval Officer's Sword. (B 20) p. 51. Boushey, David L. Combat for the Stage: Elizabethan Weaponry (Segment #2). (V 2) p.236. Bowers, Fredson. Elizabethan Revenge Tragedy 1587-1642. (B 21) p.53. Bowers, Fredson Thayer. "Middleton's Fair Quarrel and the Duelling Code." The Journal ofEnglish and Germanic Philology. (A 8) p. 264) Bryson, Frederick R. The Sixteenth Century Italian Duel. (B 23) p. 56. Brzezinski, Richard and Richard Hook. The Army of Gustavus Adolphus (1): 1nfantry. (B 24) p. 56. Brzezinski, Richard and Angus McBride. Polish Armies 1569-1696 (1) . (B 25) p.57. Bull, Stephen. An Historic Guide to Arms and Armor. (B 26) p. 58. Burt, Payson. Of Paces. (B 27) p. 58. Byam, Michelle. Arms and Armor. (B 28) p. 60. Byrnes, Joe. "Technical Talks." American Fencing. (A 9) p.209. Carlyle, Thomas. English and Other Critical Essays . (B 29) p. 6l. Cass, Eleanor Baldwin. The Book ofFencing. (B 30) p. 62. Cassidy, William. The Complete Book ofKnife Fighting. (B 31) p. 63. Castle, Egerton. Schools and Masters ofFence. (B 33) p.65. Chartrand, Rene and Francis Back. Louis XIV's Army. (B 35) p. 68. Clements, John. Renaissance Swordsmanship. (B 36) p. 69. Coe, M., P. Connolly, A. Harding, V. Harris, D. 1. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. (B38) p.7!. Conwell, Charles. "A Museum for the 21 51 Century." The Fight Master. (A II) p.210. Conwell, Charles. "Of Fights and Films: A Conversation with William Hobbs." The Fight Master. (A 12) p. 211. Cornish, Paul and Angus McBride. Henry VIII's Army. (B 39) p. 73. Council, Norman. When Honour's at the Stake. (B 40) p. 74. "Dueling Scenes and Terms in Shakespeare's Plays." Craig, Horace S. Publications in English. (A 14) p.212 . Crean, Patrick. "Working with Errol Flynn." The Fight Master. (A 15) p.213 . Crosnier, Roger. Fencing with the Foil. (B 42) p.75.

Books, Articles, and Video Titles by Category and Historical Period

321

Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time). (B 43) p. 78. Dillon, Robert, Jr. Towards a Theatrical Hoplology. (B 44) p. 79. "Dueling in the Time of Brantome." The Quarterly Review. (A 18) p.215. Dufty, Arthur Richard. European Armour in the Tower of London . (B 46) p.81. Dupuy, Col. T. N. The Evolution of Weapons and Warfare. (B 47) p.82 . Edelman, Charles. Brawl Ridiculous: Swordfighting in Shakespeare's Plays. (B 48) p.83 . "'En guarde': An Illinois court case has a lesson about stage combat for actors and directors." Dramatics Magazine. (A 19) p.215. Evered, Derek. "A Tactical Course At Sabre." Fencing. (A 20) p.216. Gaugler, William M. "Labat and the Development of the French School, Parts I and II." American Fencing. (A 23 & 24) p.217-18. Gaugler, William. "The Italian Formula for Success." American Fencing. (A 25) p.218. Girard, Dale Anthony. Actors On Guard. (B 54) p. 90. Girard, Dale Anthony. The Fight Arranger's Companion. (B 55) p. 92. Graves, Dennis. "A Discussion of Sword Nomenclature." The Fight Master: Journal ofthe Society ofAmerican Fight Directors. (A 29) p. 220. Goodacre, E. B. "The Duel in 'Hamlet'." The London Times Literary Supplement 1//1/34. (A 26) p. 218. Goodacre, E. B. "The Duel in Scene in 'Hamlet'." The London Times Literary Supplement 2/8/34. (A 27) p.219. Grancsay, Stephen. Arms and Armor. (B 56) p. 94. Hammer, L. "Ralph Faulkner: The Last Swashbuckler." American Fencing. (A 30) p. 220. Harding, David (ed.). Weapons : An International Encyclopediafrom 5,000 B.C. to 2,000 A.D. (B 60) p. 98. Hayward, J. F. Swords and Daggers. (B 64) p. 102. Hobbs, William. Stage Combat: "The Action To The Word." (B 67) p. 143 . Hoff, Michael and Natan Katzman (ex. Prods.) Deadly Duels: A Three Video Set. (V 4) p. 241. Holmes, M. R. Arms and Armour in Tudor and Stuart London . (B 70) p. 107. Hotson, Leslie. "The Adventure of Single Rapier." The Atlantic Monthly. (A 32) p. 221. Howard, John T., Jr. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p. 222. Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Perfection. (B 71) p. 107. Hutton, Alfred. The Sword and the Centuries, Or Old Sword Days and Old Sword Ways. (B 73) p. 109. John, Evan. "The Duel in 'Hamlet'." The London Times Literary Supplement 1/25/34. (A 34) p.222 . Johnson, Raoul. Combat for the Stage. (V 5) p.244. Kiernan, V. G. The Duel in European History; Honour and the Reign of Aristocracy. (B 76) p. 113.

322

Appendix E

Kist, 1. B. Jacob de Gheyn: The Exercise of Arms; A Commentary. (B 77) p. 114 Koch, H. W. History of Warfare. (B 78) p. 115. Lacombe, M. P. Arms and Armour in Antiquity and the Middle Ages. (B 79) p. 116. Lane, Richard. Swashbuckling. (B 80) p. 117. Latham, Sid. Knifecraft. (B 81) p. 119. Loades, Mike. The Blow By Blow Guide to Swordfighting in the Renaissance Style. (V 9) p. 249. MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 121. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p. 252. Manley, Albert. Complete Fencing. (B 84) p. 122. Marshall, Henry. Stage Swordplay or "So you want to be Errol Flynn?" (B 85) p. 123. Martinez, 1. D. "A Tale of Jealousy, Swordplay, and a Certain Italian." The Fight Master. (A 38) p. 224. Martinez, J. D. "Englishman to the Core, Gentleman by Birth, Swordsman by Choice." The Fight Master. (A 39) p. 224. Martinez, J. D. The Swords ofShakespeare. (B 87) p. 125. Mayes, Jim. How To Make Your Own Knives. (B 90) p. 130. McCollum, Linda Carlyle. "The Fencing School in Blackfriars." The Fight Master. (A 41) p.226. McElroy, Mary and Kent Cartwright. "Public Fencing Contests on the Elizabethan Stage." Journal ofSports History. (A 42) p. 226. McIan, R. R. and James Logan. The Clans of the Scottish Highlands. (B 92) p. 13 I. Miller, Douglas and G. A. Embleton. The Landsknechts. (B 93) p. 132. Mitchell, Lee. "The Fencing Scene in Hamlet." The Philological Quarterly. (A 43) p. 227. Morris, Charles H. Staged Fencing Techniques. (V 11) p.254. Morseberger, Robert. Swordplay and the Elizabethan and Jacobean Stage. (B 94) p. 133. Norman, A. V. B. A History of War and Weapons, 449-1660: English Warfare from the Anglo-Saxons to Cromwell. (B 100) p. 139. Norman, A. V. B. The Rapier and Small Sword, 1460-1790. (B 101) p. 140. North, Anthony. European Swords. (B 102) p. 141. Oakeshott, R. Ewart. European Weapons and Armour. (B 103) p. 141. Palfy-Alpar, Julius. Sword and Masque. (B 105) p. 143 . Payne-Gallway, Sir Ralph. The Crossbow. (B 106) p. 145. Peterson, Harold L. Daggers and Fighting Knives of the Western World (from the Stone Age till 1900). (B 107) p. 146. Pitman, Brian. Fencing: Techniques ofFoil, Epee, and Sabre. (B 107) p. 189. Pyhrr, Stuart. "European Armor from the Imperial Ottoman Arsenal." The Metropolitan Museum Journal. (A 46) p.228. Reid, William. Arms Through the Ages. (B 112) p. 152.

Books, Articles, and Video Titles by Category and Historical Period

323

Richards, Jeffrey. Swordsmen of the Screen: From Douglas Fairbanks to Michael York. (B 113) p. 152. Roberts, Keith and Angus McBride. Soldiers of the English Civil War (1) Infantry. (B 114) p. 154. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155. Shipley, Elizabeth. "Pistol's for Two...Tea for One." The Fight Master. (A 48) p.229. Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Silver, George. Paradoxes ofDefence. (B 119) p. 158. Silver, George. The Works of George Silver: Comprising "Paradoxes of Defence" and "BrefInstructions Upon My Paradoxes ofDefence". (B 120) p.160. Sprague, Arthur Colby. Shakespeare and the Actors: The Stage Business in His Plays (1660-1905). (B 124) p. 164. Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p.164. Still, Collin. Masters of Defence: Civilian Swords and Swordsmanship in Europe 1500-1800. (V 15) p.259. Stone, George Cameron. A Glossary of The Construction, Decoration and Use ofArms and Armor in All Countries and All Times. (B 126) p. 166. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Suddeth, 1. Allen. Fight Directingfor the Theatre. (B 128) p. 167. Szabo, Laszlo. Fencing and the Master. (B 129) p. 170. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons. (B 130) p.171. Tarassuk, Leonid. Parrying Daggers and Poniards. (B 131) p. 172. Thimm, Carl. A Complete Bibliography of Fencing and Duelling. (B 132) p. 173. Thornbury, G. W. Shakespeare's England; or Sketches ofour Social History in the Reign ofElizabeth (in Two Volumes). (B 133) p. 173. Tincey, John and Richard Hook. The Armada Campaign 1588. (B 134) p. 174. Tincey, John and Angus McBride. Soldiers of the English Civil War (2): Cavalry. (B 135) p. 175. Treece, Henry and Ewart Oakeshott. Fighting Men . (B 136) p. 176. Tunis, Edwin. Weapons: A Pictorial History. (B 138) p. 178. Turner, Craig and Tony Soper. Methods and Practice of Elizabethan Swordplay. (B 140) p. 179. Turner, Sir James. Pallas Armata: Military Essayes of the Ancient Grecian, Roman, and Modern Art of War Written in the Years 1670-1671. (B 141) p.180. Valentine, Eric. Rapiers: An Illustrated Reference Guide to the Rapiers of the Sixteenth and Seventeenth Centuries, and their Companions. (B 143) p. 185. Vuksic, V. and Z. Grbasic. Cavalry: The History ofA Fighting Elite. (B 145) p.186. Wagner, Eduard. Cut and Thrust Weapons. (B 146) p. 190.

324

Appendix E

Walker, Donald. Defensive Exercises; Comprising Wrestling, Boxing, Defence Against Brute Force, By Various Means; Fencing and Broad Sword, with Simpler Methods; The Gun, and its Exercise; The Rifle, and its exercise. (B 148) p. 191. Wilkinson, Anthony. How A Man Schall Be Armyed. video. p. 319. Wilkinson, Frederick. Arms and Armour. (B 151) p. 195. Wilkinson, Frederick. Swords and Daggers. (B 152) p. 195. Wilkinson-Latham, Robert. Phaidon Guide to Antique Weapons and Armour. (B 153) p. 197. Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Wilson, Dover. "The Duel in 'Hamlet'." The Times Literary Supplement 1/18/34. (A 51) p.230. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200. Wise, Arthur. Weapons in the Theatre. (B 158) p. 201. Wise, Terence. European Edged Weapons. (B 160) p.203.

TRANSITION PERIOD Alaux, Michel. Modern Fencing: Foil, Epee, and Sabre. (B I) p.31. Allanson-Winn, R. G. and C. Phillips-Wooley. Broad-Sword and Single- Stick. (B 2) p.32. "American Pole Arms or Shafted Weapons." The Bulletin of the Fort Ticonderoga Museum . (A 1) p. 205 . Annis, P. G. W. Naval Swords: British and American Edged Weapons 16601815. (B 6) p.36. Aylward, 1. D. The English Master ofArms, from the Twelfth to the Twentieth Century. (B 9) p. 39. "A 'Non-boring' History of Stage Combat.." The Fight Master. (A 2) p.206. Baldick, Robert. The Duel: A History ofDueling. (B 12) p. 42. Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p.207. Barbasetti, Luigi. The Art ofthe Sabre and the Epee. (B 13) p.43. Barthop, Michael and G. A. Embleton. The Jacobite Rebellions 1689-1745. (B 15) p.46. Behlmer, Rudy. "Swordplay on the Screen." Films in Review. (A 6) p.208 . Blackmore, Howard L. Arms and Armour. (B 17) p.47. Blair, Claude. European and American Arms circa 1100-1850. (B 18) p.48. Bosenquet, Henry T. A. The Naval Officer's Sword. (B 20) p. 51 . Boushey, David L. Combat for the Stage: Elizabethan Weaponry (Segment #2). (V 2) p. 236. Brzezinski, Richard and Richard Hook. The Army of Gustavus Adolphus (1): Infantry. (B 24) p. 56. Brzezinski, Richard and Angus McBride. Polish Armies 1569-1696 (1). (B 25) p.57. Bull, Stephen. An Historic Guide to Arms and Armor. (B 26) p. 88. Burt, Payson. Of Paces. (B 27) p. 58.

Books, Articles, and Video Titles by Category and Historical Period

325

Byam, Michelle. Arms and Armor. (B 28) p. 60. Byrnes, Joe. "Technical Talks." American Fencing. (A9) p.209. Carlyle, Thomas. English and Other Critical Essays. (B 29) p. 61. Cass, Eleanor Baldwin. The Book ofFencing. (B 30) p. 62. Cassidy, William. The Complete Book ofKnife Fighting. (B 31) p. 63. Castle, Egerton. Schools and Masters ofFence. (B 33) p. 65. Chartrand, Rene and Francis Back. Louis XIV's Army. (B 35) p. 68. Clements, John. Renaissance Swordsmanship. (B 36) p.69. Coe, M., P. Connolly, A. Harding, V. Harris, D. 1. La Rocca, A. North, T Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. (B 38) p.71. Crean, Patrick. "Working with Errol Flynn." The Fight Master. (A 15) p.213. Crosnier, Roger. Fencing with the Foil. (B 42) p.75. Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time). (B 43) p. 78. Dufty, Arthur Richard. European Armour in the Tower of London. (B 46) p.81. Dupuy, Col. T N. The Evolution of Weapons and Warfare. (B 47) p. 82. Evered, Derek. "A Tactical Course At Sabre." Fencing. (A 20) p.216. Gaugler, William M. "Labat and the Development of the French School, Parts I and II." American Fencing. (A23&24) p.217-18. Gaugler, William. "The Italian Formula for Success." American Fencing. (A 25) p.218. Girard, Dale Anthony. Actors On Guard. (B 54) p. 90. Girard, Dale Anthony. The Fight Arranger's Companion. (B 55) p. 92. Grancsay, Stephen. Arms and Armor. (B 56) p. 94. Graves, Dennis. "A Discussion of Sword Nomenclature." The Fight Master: Journal ofthe Society ofAmerican Fight Directors. (A 29) p. 220. Hammer, L. "Ralph Faulkner: The Last Swashbuckler." American Fencing. (A 30) p. 220. Harding, David (ed.). Weapons: An International Encyclopediafrom 5,000 B.C. to 2,000 A.D. (B 60) p. 98. Hayward, 1. F. Swords and Daggers. (B 64) p. 102. Hobbs, William. Stage Combat: "The Action To The Word." (B 67) p. 143. Howard, John T, Jr. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p.222. Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Peifection. (B 71) p. 107. Hutton, Alfred. The Sword and the Centuries, Or Old Sword Days and Old Sword Ways. (B 73) p. 109. Johnson, Raoul. Combat for the Stage. (V 5) p.244. Kiernan, V. G. The Duel in European History,' Honour and the Reign of Aristocracy. (B 76) p. 113. Koch, H. W. History of Warfare. (B 78) p. 115. Lacombe, M. P. Arms and Armour in Antiquity and the Middle Ages. (B 79) p. 116.

326

Appendix E

Lane, Richard. Swashbuckling. (B 80) p. 117. Latham, Sid. Knifecraft. (B 81) p. 119 Loades, Mike. The Blow By Blow Guide to Swordfighting in the Renaissance Style. (V 9) p.249. MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 121. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p. 252. Manley, Albert. Complete Fencing. (B 84) p. 122. MarshalI, Henry. Stage Swordplay or "So you want to be Errol Flynn?" (B 85) p. 123. Martinez, 1. D. The Swords ofShakespeare. (B 87) p. 125. Mayes, Jim. How To Make Your Own Knives. (B 90) p. 130. McIan, R. R. and James Logan. The Clans of the Scottish Highlands. (B 92) p. 131. Morris, Charles H. Staged Fencing Techniques. (V II) p.254. Morseberger, Robert. Swordplay and the Elizabethan and Jacobean Stage. (B 94) p. 133. Norman, A. V. B. A History of War and Weapons, 449-1660: English Warfare from the Anglo-Saxons to Cromwell. (B 100) p. 139. Norman, A. V. B. The Rapier and Small Sword, 1460-1790. (B 101) p. 140. North, Anthony. European Swords. (B 102) p. 141. Oakeshott,R.Ewart. European Weapons and Armour. (B 103) p.141. Palfy-Alpar, Julius. Sword and Masque. (B 105) p. 143. Peterson, Harold L. Daggers and Fighting Knives of the Western World (from the Stone Age till 1900). (B 107) p. 146. Pitman, Brian. Fencing: Techniques ofFoil, Epee and Sabre. (B 108) p. 146. Ransom, Ron. The Stage Fight Director: A Look Behind the Scenes with David Boushey. (V 14) p. 258. Reid, WilIiam. Arms Through the Ages. (B 112) p. 152. Richards, Jeffrey. Swordsmen of the Screen: Douglas Fairbanks to Michael York. (B 113) p. 152. Roberts, Keith and Angus McBride. Soldiers of the English Civil War (1): Infantry. (B 114) p. 154. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155. Shipley, Elizabeth. "Pistol's for Two ...Tea for One." The Fight Master. (A 48) p. 229. Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Sprague, Arthur Colby. Shakespeare and the Actors: The Stage Business in His Plays (1660-1905). (B 124) p. 164. Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p.164. StilI, Collin. Masters of Defence: Civilian Swords and Swordsmanship in Europe 1500-1800. (V 15) p. 259. Stone, George Cameron. A Glossary of The Construction, Decoration and Use ofArms and Armor in All Countries and All Times. (B 126) p. 166.

Books, Articles, and Video Titles by Category and Historical Period

327

Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Suddeth, J. Allen. Fight Directingfor the Theatre. (B 128) p. 167. Szabo, Laszlo. Fencing and the Master. (B 129) p. 170. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons. (B 130) p.17l. Thimm, Carl. A Complete Bibliography of Fencing and Duelling. (B 132) p. 173. Tincey, John and Angus McBride. Soldiers of the English Civil War (2): Cavalry. (B 135) p. 175. Treece, Henry and Ewart Oakeshott. Fighting Men. (B 136) p. 176. Tunis, Edwin. Weapons: A Pictorial History. (B 138) p. 178. Turner, Sir James. Pallas Armata: Military Essayes of the Ancient Grecian, Roman, and Modern Art of War Written in the Years 1670-1671. (B 141) p.180. Vuksic, V. and Z. Grbasic. Cavalry: The History ofA Fighting Elite. (B 145) p.186. Wagner, Eduard. Cut and Thrust Weapons. (B 146) p. 190. Walker, Donald. Defensive Exercises; Comprising Wrestling, Boxing, Defence Against Brute Force, By Various Means; Fencing and Broad Sword, with Simpler Methods; The Gun, and its Exercise; The Rifle, and its exercise. (B 148) p. 191. Wilkinson, Frederick. Arms and Armour. (B 151) p. 195. Wilkinson, Frederick. Swords and Daggers. (B 152) p. 195. Wilkinson-Latham, Robertk. Phaidon Guide to Antique Weapons and Armour. (B 153) p. 197. Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200. Wise, Arthur. Weapons in the Theatre. (B 158) p.201. Wise, Terence. European Edged Weapons. (B 160) p.203.

EIGHTEENTH CENTURY

A1aux, Michel. Modern Fencing: Foil, Epee, and Sabre. (B 1) p.31. Allanson-Winn, R. G. and C. PhiIlips-Wooley. Broad-Sword and Single- Stick. (B 2) p.32. "American Pole Arms or Shafted Weapons." The Bulletin of the Fort Ticonderoga Museum . (A 1) p.205. Andrews, Donna T. "The Code of Honour and Its Critics: The Opposition to Duelling in England, 1700-1850." Social History. (A 3) p.206. Angelo, Domenico. The School ofFencing. (B 5) p. 35. Annis, P. G. W. Naval Swords: British and American Edged Weapons 16601815. (B 6) p.36. "A 'Non-boring' History of Stage Combat.." The Fight Master. (A 2) p.206. Aylward, J. D. The English Master ofArms, from the Twelfth to the Twentieth Century. (B 9) p. 39. Aylward, J. D. The House ofAngelo. (B 10) p.40.

328

Appendix E

Aylward, 1. D. The Small-Sword in England: Its History, Its Forms, Its Makers, and Its Masters. (B 11) p. 41. Baldick, Robert. The Duel: A History ofDueling. (B 12) p. 42. Ballard, Rae Ellen. "Alan Meek: Arms and Armor." Theatre Craft Magazine. (A 4) p.207. Barbasetti, Luigi. The Art ofthe Sabre and the Epee. (B 13) p.43 . Barthop, Michael and G. A. Embleton. The Jacobite Rebellions 1689-1745. (B 15) p. 46. Barthop, Michael and Angus McBride. Marlborough's Army1702-11. (B 16) p.46. Behlmer, Rudy. "Swordplay on the Screen." Films in Review. (A 6) p. 208. Blackmore, Howard L. Arms and Armour. (B 17) p.47. Blair, Claude. European and American Arms circa 1100-1850. (B 18) p.48. Bosenquet, Henry T. A. The Naval Officer's Sword. (B 20) p. 51. The British Code of Duel: A Reference to The Laws of Honour, and the Character ofGentleman. (B 22) p. 54. Boushey, David L. Combat for the Stage: Elizabethan Weaponry (Segment #2) . (V 2) p.236 . Bull, Stephen. An Historic Guide to Arms and Armor. (B 26) p. 58. Burt, Payson. Of Paces. (B 27) p. 58. Byam, Michelle. Arms and Armor. (B 28) p. 60. Byrnes, Joe. "Technical Talks." American Fencing. (A 9) p. 209. Cass, Eleanor Baldwin. The Book ofFencing. (B 30) p. 62. Cassidy, William. The Complete Book ofKnife Fighting. (B 31) p. 63 . Castle, Egerton. Schools and Masters ofFence. (B 33) p. 65. Chartrand, Rene and Francis Back. The French Army in the American War of Independence. (B 34) p. 67. "The Code of Duelling." Chambers's Journal. (A 10) p.21O. Coe, M., P. Connolly, A. Harding, V. Harris, D. J. La Rocca, A. North, T. Richardson, C. Spring, and F. Wilkinson. Swords and Hilt Weapons. (B 38) p. 71. Conwell, Charles. "A Museum for the 21 st Century." The Fight Master. (A 11) p.21O. Conwell, Charles. "Of Fights and Films: A Conversation with William Hobbs." The Fight Master. (A 12) p. 211. Crosnier, Roger. Fencing with the Foil. (B 42) p. 75. Darling, Anthony D. "Weapons of the Highland Regiments." The Canadian Journal ofArms Collecting. (A 16) p. 214. Davis, Oglivie H. "The Belt Axe." Muzzle Blasts. p.214. Demmin, Auguste. An Illustrated History of Arms and Armour (from the Earliest Period to the Present Time). (B 43) p. 78. Dillon, Robert, Jr. Towards a Theatrical Hoplology. (B 44) p. 79. Dupuy, Col. T. N. The Evolution of Weapons and Warfare. (B 47) p. 82. Evered, Derek. "A Tactical Course At Sabre." Fencing. (A 20) p. 216. Fawcett, William (Adjutant General). Rules and Regulations for the Sword Exercises ofthe Cavalry. (B 50) p.85 . Fosten, Bryan. Wellington's Infantry (1). (B 51) p. 87.

Books, Articles, and Video Titles by Category and Historical Period

329

Gaugler, William M. "Labat and the Development of the French School, Parts I and II." American Fencing. (A 23 & 24) p. 217-18... Gaugler, William. "The Italian Formula for Success." American Fencing. (A 25) p.218. Girard, Dale Anthony. The Fight Arranger's Companion . (B 55) p. 92. Grancsay, Stephen. Arms and Armor. (B 56) p. 94. Graves, Dennis. "A Discussion of Sword Nomenclature." The Fight Master: Journal ofthe Society ofAmerican Fight Directors. (A 29) p. 220. Hammer, L. "Ralph Faulkner: The Last Swashbuckler." American Fencing. (A 30) p. 220. Harding, David (ed.). Weapons: An International Encyclopedia from 5,000 B.C. to 2,000 A.D. (B 60) p. 98. Harrington, Peter. Culloden 1746. (62) p. 101. Haythornwaite, Philip and Bryan Fosten. Frederick the Great's Army (1): Cavalry. (B 63) p. 101. Hayward, J. F. Swords and Daggers. (B 64) p. 102. Hobbs, William. Stage Combat: "The Action To The Word." (B 67) p. 143. Hoff, Michael and Natan Katzman (ex. Prods.) Deadly Duels: A Three Video Set. (V 4) p.241. Hogg, Ian V. and John H. Batchelor. Armies of the American Revolution. (B 68) p. 105. Howard, John T., Jr. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p.222. Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Perfection. (B 71) p. 107. Hutton, Alfred. The Sword and the Centuries, Or Old Sword Days and Old Sword Ways. (B 73) p. 109. Johnson, Raoul. Combat for the Stage. (V5) p.244. Kiernan, V. G. The Duel in European History,' Honour and the Reign of Aristocracy. (B 76) p. 113. Koch, H. W. History of Warfare. (B 78) p. 115. Lane, Richard. Swashbuckling. (B 80) p. 117. Latham, Sid. Knifecraft. (B 81) p. 119. Lattimer, John K. "Sword Hilts By Early American Silversmiths." Antiques Magazine. (A 35) p. 222. Loades, Mike. The Blow By Blow Guide to Swordfighting in the Renaissance Style. (V 9) p. 249. MacYoung, Marc "Animal." Knives, Knife Fighting, and Related Hassles: How to Survive a Real Knife Fight. (B 83) p. 121. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p.252. Manley, Albert. Complete Fencing. (B 84) p. 122. Marshall, Henry. Stage Swordplay or "So you want to be Errol Flynn?" (B 85) p. I23 . May, Robin and G. A. Embleton. The British Army in North America. (B 89) p.129. Mayes, Jim. How To Make Your Own Knives. (B 90) p. 130.

330

Appendix E

"No, By God, I Won't: The Richard McCollum, Linda Carlyle. Sheridan/Thomas Mathews Duels." The Fight Master. (A 40) p. 225. McIan, R. R. and James Logan. The Clans of the Scottish Highlands. (B 92) p. 13l. Morris, Charles H. Staged Fencing Techniques. (V II) p.254 .. Neumann, George C. Swords and Blades of the American Revolution. (B 95) p.134. Norman, A. V. B. "Some Eighteenth Century Civilian Swords." The Scottish Art Review. (A 45) p. 228. Norman, A. V. B. The Rapier and Small Sword, 1460-1799. (B 101) p. 140. North, Anthony. European Swords. (B 102) p. 141. Oakeshott, R. Ewart. European Weapons and Armour. (B 103) p. 141. Palfy-Alpar, Julius. Sword and Masque. (B 105) p. 143. Peterson, Harold L. Daggers and Fighting Knives of the Western World (from the Stone Age till 1900). (B 107) p. 146. Pitman, Brian. Fencing: Techniques ofFoil, Epee, and Sabre. (B 107) p. 189 Reid, Stuart and Bryan Fosten. Wellington's Highlanders . (B Ill) p. 15l. Reid, William. Arms Through the Ages. (B 112) p. 152. Richards, Jeffrey. Swordsmen of the Screen: From Douglas Fairbanks to Michael York. (B 113) p.152. Roper, William L. "With Cutlass and Sword." The Marine Corps. Gazette. (A 47) p.228. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. ISS. Shipley, Elizabeth. "Pistol's for Two...Tea for One." The Fight Master. (A 48) p.229. Sietsema, Robert. Weapons and Armor. (B 118) p. 157. Sprague, Arthur Colby. Shakespeare and the Actors: The Stage Business in His Plays (1600-1905). (B 124) p. 164. Steiner, Bradley 1. No Second Chance: Disarming the Armed Assailant. (B 125) p. 164. Still, Collin. Masters of Defence: Civilian Swords and Swordsmanship in Europe 1500-1800. (V 15) p.259. Stone, George Cameron. A Glossary of The Construction, Decoration and Use ofArms and Armor in All Countries and All Times. (B 126) p. 166. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Suddeth, 1. Allen. Fight Directingfor the Theatre. (B 128) p. 167. Szabo, Laszlo. Fencing and the Master. (B 129) p. 170. Tarassuk, Leonid and Claude Blair (eds.). The Complete Encyclopedia ofArms and Weapons. (B 130) p. 17l. Thimm, Carl. A Complete Bibliography of Fencing and Duelling. (B 132) p. 173. Tunis, Edwin. Weapons: A Pictorial History. (B 138) p. 178. Vuksic, V. and Z. Grbasic. Cavalry: The History ofA Fighting Elite. (B 145) p. 186. Wagner, Eduard. Cut and Thrust Weapons. (B 146) p. 190.

Books, Articles, and Video Titles by Category and Historical Period

331

Walker, Donald. Defensive Exercises; Comprising Wrestling, Boxing, Defence Against Brute Force, By Various Means; Fencing and Broad Sword, with Simpler Methods; The Gun, and its Exercise; The Rifle, and its exercise. (B 148) p. 191. Wilkinson, Frederick. Arms and Armour. (B 151) p. 195. Wilkinson, Frederick. Swords and Daggers. (B 152) p. 195. Wilkinson-Latham, Robertk. Phaidon Guide to Antique Weapons and Armour. (B 153) p.197. Wilkinson-Latham, Robert. Swords in Color. (B 154) p. 197. Wilson, John Lyde. The Code of Honor: or Rules for the Government of Principals and Seconds in Duelling. (B 156) p. 199. Wise, Arthur. The Art and History ofPersonal Combat. (B 157) p. 200. Wise, Arthur. Weapons in the Theatre. (B 158) p.201. Wise, Terence. European Edged Weapons. (B 160) p. 203.

UNARMED COMBAT

Boushey, David L. Combat for the Stage: Unarmed Combat. (V 3) p.238. Craven, Kurt. 101 Sucker Punches. (B 41) p.74. Franco, Sammy. Street Lethal: Unarmed Urban Combat. (B 52) p. 88. Gambardella, Dr. Ted. Fight for Your Life: Secrets of Street Fighting. (B 53) p.89. Girard, Dale Anthony. The Fight Arranger's Companion. (B 55) p.92. Hunt, M. Briggs and Norman Miller. Beginning Wrestling. (B 72) p. 108. Johnson, Raoul. Combat for the Stage. (V 5) p. 244. Lane, Richard. Swashbuckling. (B 80) p. 117. Leong, David and 1. Allen Suddeth. Unarmed Combat I: Learning the Basics. (V 6) p. 245. Leong, David and 1. Allen Suddeth. Unarmed Combat II: Perfecting the Fundamentals. (V 7) p.247. Leong, David and 1. Allen Suddeth. Unarmed Combat III: Mastering the Techniques. (V 8) p. 248. MacYoung, Marc "Animal." Fists, Wits, and a Wicked Right: Surviving on the Wild Side ofthe Street. (B 82) p. 120. Martinez, Joseph. Combat Mime: A Non- Violent Approach to Stage Violence. (B 86) p. 124. Martone, John. Handbook ofSelf-Defense. (B 88) p. 128. McCallum, Paul. A Practical Self-Defense Guidefor Women . (B 91) p. 130. Palfy-Alpar, Julius. Sword and Masque. (B 105) p. 143. Quinn, Peyton. Barroom Brawling: The Art of Staying Alive in Beer Joints, Biker Bars, and Other Fun Places. (V 12) p.255. Quinn, Peyton. Blitzkrieg Attacks: Knock Out Blows from the Bouncer Trade. (V 13) p. 256. Quinn, Peyton. Bouncer's Guide to Barroom Brawling: Dealing with the Sucker Puncher, Streetjighter, and Ambusher. (B 109) p. 148.

332

Appendix E

Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p. 164. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Umbach, Arnold and Warren R. Johnson. Wrestling. (B 142) p. 183 . Walker, Donald. Defensive Exercises; Comprising Wrestling, Boxing, Defence Against Brute Force, By Various Means; Fencing and Broad Sword, with Simpler Methods; The Gun, and its Exercise; The Rifle, and its exercise. (B 148) p. 191. Wilson, Jim and Paul Evans. Commando Fighting Techniques. (B 155) p. 198.

"HOW-TO" PUBLICATIONS Alaux, Michel. Modern Fencing: Foil, Epee, and Sabre. (B I) p. 31. BalIard, Rae ElIen. "Slings and Arrows--B. H. Barry, Fight Director." Theatre Craft Magazine. (A 5) p. 207. Boushey, David L. Combat for the Stage: Medieval Weaponry (Segment #1). (V 9) p.233. Boushey, David L. Combat for the Stage: Elizabethan Weaponry (Segment #2). (V 2) p. 236. Boushey, David L. Combat for the Stage: Unarmed Combat. (V 3) p.238. Burt, Payson. Of Paces. (B 27) p. 58. Byrnes, Joe. "Technical Talks." American Fencing. (A 9) p.209. Clements, John. Renaissance Swordsmanship. (B 36) p. 69. Craven, Kurt. 101 Sucker Punches. (B 41) p.74. DilIon, Robert, Jr. Towards a Theatrical Hoplology. (B 44) p. 79. Edmond, James (ed.). Violence in Drama. (B 110) p. 149. Evered, Derek. "A Tactical Course At Sabre." Fencing. (A 20) p.216 . Everson, WilIiam K. "Stunt Men: They Should Be As WelI Known As the Stars For Whom They Often Double." Films in Review. (A 21) p. 216. Fawcett, WilIiam (Adjutant General). Rules and Regulations for the Sword Exercises ofthe Cavalry. (B 50) p.85. Forrest, Kris L. and Peter Story Pentz. "Constructing Broadswords for the Theatre." Theatre Crafts Magazine. (A 22) p. 217. Franco, Sammy. Street Lethal: Unarmed Urban Combat. (B 52) p. 88 . GambordelIa, Dr. Ted. Fight for Your Life: Secrets of Street Fighting. (B 53) p.89. Gaugler, WilIiam. "The Italian Formula for Success." American Fencing. (A 25) p.218. Girard, Dale Anthony. Actors On Guard. (B 54) p.90. Hobbs, WilIiam. Stage Combat: "The Action To The Word." (B 67) p. 143. Holen, Rick. "Outfit an Army for Under $100." Theatre Crafts Magazine. (A31) p.221. Howard, John T., Jr. "The Bloody Knife." Theatre Crafts Magazine. (A 33) p. 222.

Books, Articles, and Video Titles by Category and Historical Period

333

Hrisoulas, Jim. The Complete Bladesmith: Forging Your Way to Perfection. (B 71) p. 107. Hunt, M. Briggs and Norman Miller. Beginning Wrestling. (B 72) p. 108. Johnson, Raoul. Combat for the Stage. (V 5) p. 244. Latham, Sid. Knifecraft. (B 81) p. 119. Leong, David and 1. Allen Suddeth. Unarmed Combat I: Learning the Basics. (V 6) p.245. Leong, David and J. Allen Suddeth. Unarmed Combat II: Perfecting the Fundamentals. (V 7) p.247. Leong, David and 1. Allen Suddeth. Unarmed Combat !II: Mastering the Techniques. (V 7) p. 248. Loades, Mike. The Blow By Blow Guide to Swordfighting in the Renaissance Style. (V 9) p. 249. MacYoung, Marc "AnimaL" Fists, Wits, and a Wicked Right: Surviving on the Wild Side ofthe Street. (B 82) p. 120. MacYoung, Marc "AnimaL" Knives, Knife Fighting, and Related Hassles : How to Survive a Real Knife Fight. (B 83) p. 121. MacYoung, Marc "Animal" and Richard Dobson. Surviving A Street Knife Fight: Realistic Defensive Techniques. (V 10) p. 252. Manley, Albert. Complete Fencing. (B 84) p. 122. Marshall, Dorothy. "Fighting the Myth of Metal." Theatre Crafts Magazine. (A 36) p. 223. Marshall, Dorothy and Deborah Levin. "Knitting Chainmail." Theatre Crafts Magazine. (A 37) p. 223. Marshall, Henry. Stage Swordplay or "So you want to be Errol Flynn?" (B 85) p.123. Martinez, Joseph. Combat Mime: A Non-Violent Approach to Stage Violence. (B 86) p. 124. Martone, John. Handbook ofSelf-Defense. (B 88) p. 128. Mayes, Jim. How to Make Your Own Knives. (B 90) p. 130. McCallum, Paul. A Practical Self-Defense Guidefor Women . (B 91) p. 130. Morris, Charles H. Staged Fencing Techniques. (V 11) p. 254. Palfy-Alpar, Julius. Sword and Masque. (B 105) p. 143. Pitman, Brian. Fencing: Techniques ofFoil, Epee and Sabre. (B 108) p. 146. Quinn, Peyton. Barroom Brawling: The Art of Staying Alive in Beer Joints, Biker Bars, and Other Fun Places. (V 12) p.255. Quinn, Peyton. Blitzkrieg Attacks: Knock Out Blows from the Bouncer Trade. (V 13) p. 256. Quinn, Peyton. Bouncer's Guide to Barroom Brawling: Dealing with the Sucker Puncher, Streetfighter, and Ambusher. (B 109) p. 148. Ransom, Ron. The Stage Fight Director: A Look Behind the Scenes with David Boushey. (V 14) p.258. Sanchez, John. Blade Master: Advanced Survival Skills for the Knife Fighter. (B 116) p. 155. Silver, George. Paradoxes ofDefence. (B 119) p. 158.

334

Appendix E

Silver, George. The Works of George Silver: Comprising "Paradoxes of Defence" and "BrefInstructions Upon My Paradoxes ofDefence". (B 120) p.160. Steiner, Bradley J. No Second Chance: Disarming the Armed Assailant. (B 125) p.164. Styers, John. Cold Steel: Technique ofClose Combat. (B 127) p. 166. Suddeth,1. Allen. Fight Directingfor the Theatre. (B 128) p. 167. Szabo, Lazslo. Fencing and the Master. (B 129) p. 170. Umbach, Arnold and Warren R. Johnson. Wrestling. (B 142) p. 183. Walker, Donald. Defensive Exercises; Comprising Wrestling, Boxing, Defence Against Brute Force, By Various Means; Fencing and Broad Sword, with Simpler Methods; The Gun, and its Exercise; The Rifle, and its exercise. (B 148) p. 191. Wilson, Jim and Paul Evans. Commando Fighting Techniques. (B ISS) p. 198.

SELECTED BIBLIOGRAPHY BOOKS Angelo, Domenico. The School ofFencing. New York: Land's End Press, 1971 (reprint of 1787 edition, which was an English translation of the 1763 original in French). Ashdown, Charles. Armour and Weapons in the Middle Ages. London: The Holland Press, 1925 (facsimile edition 1975). Aylward, J. D. The English Master ofDefence from the Twelflh to the Twentieth Century. London: Routledge and Kegan Paul, 1956. Baldick, Robert. The Duel: A History of Dueling. New York: Spring Books, 1965 . Blair, Claude. European and American Arms circa 1100-1850. New York: Crown Publishers, Inc., 1962. Bryson, Frederick R. The Sixteenth Century Italian Duel. Chicago: The University of Chicago Press, 1938. Buchanan-Brown, 1. Cassell's Encyclopedia of World Literature. New York: William Morrow, 1973. Cassin-Scott, Jack. The Greek and Persian Wars 500-323 B.C. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1977. Castle, Egerton. Schools and Masters of Fence. London: George Shumway, Publisher, 1885 (3rd edition printed 1969). Coon, Carlton S. The Story ofMan. New York: A. Knopf, 1955 . Demmin, Auguste. An Illustrated History of Arms and Armour (From the Earliest Period to the Present Time). Translated by C. C. Black, M. A., London: George Bell and Sons, 1901. Edge, David and John Miles Paddock. Arms and Armor ofthe Medieval Knight. New York: Crescent Books distributed by Crown Publishers, Inc., 1988. Grant, Michael. Gladiators. New York: Delacorte Press, 1967. Harding, David (ed.). Weapons : An International Encyclopediafrom 5,000 B.C. to 2,000 A.D. London: Galley Press, 1984.

336

Selected Bibliography

Hobbs, William. Stage Combat: "The Action to the Word." New Y ark: St. Martin's Press, 1980. Hutton, Alfred. The Sword and the Centuries, Or Old Sword Days and Old Sword Ways. Rutland, VT: Charles E. Tuttle Company, 1973. Kiernan, V. G. The Duel in European History; Honour and the Reign of Aristocracy. New York: Oxford University Press, 1988. Koch, H. W. History of Warfare. New York: Gallery Books, 1981 . Marshall, Henry. Stage Swordplay or "So you want to be Errol Flynn?" Tarrytown, NY: Marymount College, 1977. Martinez, 1. D. Combat Mime: A Non-Violent Approach to Stage Violence. Chicago: Nelson-Hall, Publishers, 1982. Nicolle, David and Angus McBride. The Age of Charlemagne. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1984. Norman, A. V. B. A History of War and Weapons, 449-1660: English Warfare from the Anglo-Saxons to Cromwell. New York: Thomas Y. Crowell Company, 1966. ____. The Rapier and Small Sword, 1460-1820. New York: Arno Press, 1980. Oakeshott, R. Ewart. European Weapons and Armour. North Hollywood, CA: Beinfeld Publishing, Inc., 1980. Palfy-Alpar, Julius. Sword and Masque. Philadelphia: F. A. Davis, Co., 1967. Peake, Harold and Herbert John Fleure. The Horse and the Sword. New Haven: Yale University Press, 1933. Reid, William. Arms Through the Ages. New York: Harper and Row, Publishers, 1976. Secunda, Nickolas Victor and Angus McBride. The Ancient Greeks. Elite Series. London: Osprey Publishing, Ltd., 1986. ____. The Army of Alexander the Great. Men-at-Arms Series. London: Osprey Publishing, 1984. Silver, George. Paradoxes of Defence. Oxford: Humphrey Milford, Oxford University Press, 1933 (facsimile of 1599 original). Simkins, Michael. Warriors ofRome. New York: The Blandford Press, 1988. Snodgrass, A. M. Arms and Armour of the Greeks. Ithaca, NY: Cornell University Press, 1967. Stone, George Cameron. A Glossary of the Construction, Decoration and Use of Arms and Armor in All Countries and All Times . New York: The Southworth Press, 1934; reissued New York: Jack Brussel, Publisher, 1961. Tarassuk, Leonid. Parrying Daggers and Poinards. Blue Diamond, Nev.: Society of American Fight Directors, 1987. Turner, Craig and Tony Soper. Methods and Practice of Elizabethan Swordplay. Carbondale, Ill: Southern Illinois University Press, 1990. Warry, John. Alexander: 334-323 B.C. Campaign Series. London: Osprey Publishing, 1991. Wilcox, Peter and Angus McBride. Rome's Enemies (2): Gallic and British Celts. Men-at-Arms Series. London: Osprey Publishing, Ltd., 1985. Wilkinson-Latham, Robert. Phaidon Guide to Antique Weapons and Armour. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1981.

Selected Bibliography

337

Wise, Arthur. The Art and History of Personal Combat. Greenwich, Conn.: Arma Press, 1972. ____. Weapons in the Theatre. London: Longman's, Green and Co., Ltd., 1968. Wise, Terence and Angus McBride. Ancient Armies of the Middle East. Menat-Arms Series. London: Osprey Publishing, Ltd., 1981. Wise, Terence and G. A. Embleton. Saxon, Viking and Norman . Men-at-Arms Series. London: Osprey Publishing, Ltd., 1979.

PERIODICALS Craig, Horace S. "Dueling Scenes and Terms in Shakespeare's Plays." Publications in English, Univ. of Calif., vol. 9, no. I, 1940, pp. 1-27. "Duelling in the Time of Brantome." The Quarterly Review, vol. 194, July-Oct. 1901, pp. 435-450. McElroy, Mary and Kent Cartwright. "Public Fencing Contests on the Elizabethan Stage." Journal of Sports History, vol. 13, no. 3, 1986, pp. 193-211. Mitchell, Lee. "The Fencing Scene in Hamlet." The Philological Quarterly, vol. 16, 1937, pp. 71-73.

INDEX

Achilles, 3 Agincourt, 13, 17 Agrippa, Camillo, 19, 31 , 66, 90, 198-199 Ajax, 3 Alexander the Great, 65, 156-57, 163, 193 Alfieri , Francesco, 67, 90, 201 Alia mazza (duel), 18 Angelo, Domenico, 28, 35, 40-41 Angelo, Harry, 35, 40-41 Applegate, Rex, 63-64 Armor, 2-16, 29 Arrows, 2, 6, 8, II, 13; arrowheads, 2-3, 5 Artillery, 38, 47-48, 68-69, 79, 83,98, 101,106, 113,117,132, 176,182,191, 204 Attacks on the blade, 32, 77 Auxiliaries, 7,11 , 74 , 110,139, 161,181 Axe, 11-14, 16 Backsword,49, 110 Ballock knife, 50 Barbarian, 8, 10-1 I Battle-axe, 11-13, 16 Bayonet, 32-33, 50, 72, 78, 106, 113, 134-35, 146,167,173,197-98,203 Beat, 77, 91-92 Berserkers, 12 Besnard, Charles, 67

Biddle, A.J.D. , 63-64, 167 Blazonry, 33-34 Blocks, 35, 89, 128, 149, 165, 170, 198 Bonetti, Rocco, 39-40 Boushey, David, 236-41 Bow, 49, 67, 79, 82, 100, 104, 145, 152, 158, 179,191,194, 197 Boxing, 75, 191-92 Breakdowns, 99, 108-109 Broadsword, 10, 12-13, 16, 18, 20, 22, 25 , 27 Bronze, 3-7, 10 Bronze Age, 3-5, 10 Buckler, 17, 19,21,23 Burton, Sir Richard, 40 Byzantium, 72, 82, 103-04, 187-88 Cannon, 49, 79, 98, 101, 158, 179, 204 Capo Ferro, Ridolfo, 59, 66, 90, 200 Castle, Egerton, 21, 25 n. 38, 65 Castles, 98, III, 139, 152, 179, 186 Cavalry, 9, 11 , 25-26 Cavalry saber, 32, 72, 85, 87 , 192, 196 Cavens, Fred, 153 Celts, 10-11 Chain mail , 18 Challenge, 54-55, 61 , 71-72, 75, lIS, 174,181 , 199

340

Index

Champion, 15 Champs c!os, 18 Chariot, 82, 176 Charlemagne, I 1-12 Charles II, 36, 139 Chastaigneraie, 18, 27, 110 Chivalry, 42, 44, 45,109, I II , 139, 142, 179, 186 Choke, 89,128,149,198 Cinquedea, 50, 146 Claymore, 67 Coat-of-arms, 33-34 Code Duello, 42, 53, 114, 134, 161 , 199 Code of Honor, 18,54,74, 199,200 Colichemarde, 27, 52, 67, 110 College of Heralds, 13 Copper, 3, 5 Counter attack, 32 Counter parries, 44 Coup de Jarnac, 26-27, 71 Crecy, 13 Crossbow, 14 Cross punch, 89 Crusades, 45, 58, 72, 82, 84, 98, 115, 179 Cudgel, 33, 90, I 10, 126, 192, 199 Cuir bouilli, 6-7, 14 Culloden, 46, 101 Cut, 33, 36, 41-42, 44, 47-48 , 62, 66, 69, 70, 72, 76, 78, 83, 85-88, 91-92, 10507, 113, 123-24, 133-35, 148, 152, 156,158,161,170,180, 184,190-91, 196, 198,201-02 Cutlass, 35, 37,123,135 Dagger, 34-35, 47 , 49-50, 60, 65-67, 69, 7 I -73, 78, 84, 90-9 I, 95-96, 102-03, 107-08, 110, 119, 124, 126, 130, 13435,140,142, 146, 152, 158,161-62, 170, 172-74, 180, 184-85, 195-98, 200, 203 Damascening, 49, 140,203 Danet, Guillaume, 67 Dark Ages, 10- 12 Deception of parry, 91 De Jarnac, Sieur, 18,26-27,71, 110 De Narvaez, Don Luis Pacheco, 66 Di Grassi, Giacomo 19-20 Dirks, 36-37 5 I-52, 72, 146, 198

Disarm, 40, 128, 144, 164-166, 180, 199 Domenico Angelo, 35, 40-41 Dragoons, 38,47, 69,102,176,182,18889 Drills, 33, 43 , 58, 62-63, 87-88, 105, 123.24, 144, 149, 154 Duel, 35, 40-43, 53-56, 58, 61-63, 65-66, 70-72, 109-10, 114, 116, 133-34, 144, 158,161,168,173-74,180,185, 190, 199-201,203; duelists, 31, 35,40,53, 62, 74, 93, 99, 105, 109 Duel of Chivalry, 42 Dusack,66 Elbow strike, 89 Elizabeth I, 53, 133, 158, 174 Engagement, 32, 44, 60, 66, 76-77, 113, 136, 175-76 Epee, 31-32, 43-44, 62-63, 76, 78, 122, 144, 147-48 Estoc, 14, 16 Evasions, 128 Fabris, SalvatoI', 66, 90, 167 Fairbairn, W.E., 63, 64 Faubert, H. 39 Faulkner, Ralph, 62, 153 Fechtbuch, 190 Federfechter, 66 Fencing measure, 70, 76 Fencing strip, 32 Flags, 38, 57, 73, 133, 191 , 204 Flail, 78, 118 Flamberge, I 10, 142 Fleche, 32, 76 Flint, 2-3, 5 Flynn, Errol, 69, 123 Foil, 31, 44, 53, 62, 66-67, 75-77, 122, 144, 147, 156,192 Folding knives, 64, 146 Footwork, 32, 59, 88, 91, 118-19, 123, 144,148,171,180 Forging blades, 107-08 Franks, II Frederick the Great, 102 Gauntlets, 51, 82,157,184 Giganti, Nicoletto, 66

Index Girard, Dale, 70, 90, 92, 120 Girard, Pierre Jacques Francois, 66-67, 70, 79, 90-93, 170 Gladiator, 9, 26 Gladius, 6-8 Gothic, 38, 48, 51, 82, 188, 195 Greaves, 4, 6, 9 Greece, 55, 64, 72, 117, 163, 193,200, 202 Grinding blades, 108 Grip, 32, 64, 76, 91, 108, 121-22, 144, 148,156,165,180 Gustavus Adolphus, 56, 83 Halberd, 50, 60, 74, 78, 104, 133-35, 141, 152, 159, 204 Hamlet, 53, 63, 74, 79-80, 84, 127, 13334,145,164,201-02 Hand-axe, 2 Hanger, 36, 48-49, 52, 72, 102, 107, 13435, 141 Harald Hardraada, 12-13 Hastings, 47, 97, 139 Hauberk, 13-15 Hector, 3 Helmet, 3-7, 9, 12-13, 15 Henri II, I 10 Henry IV, part 1,74,92, 126 Henry V, 84 Henry VIII, 48, 71, 73, 82, 107 Heraldry, 33, 116, 185-86 Heremans, Jean, 154 Hittites, 4, 6 Hollywood, 59, 69,141 Homer, 3-4 Hook punch, 89, 156 Hope, William, 39, 67 Hoplite, 5, 8 Hoplology, 79-80 Horse armor, 82, 95, 158 Hussars, 57, 69, 102, 189 Hutton, Alfred, 40, 160 The Iliad, 3 Iron Age, 4, 8

Jacobite Rebellion, 46, 101, 132 Javelin, 5-6, 8, 11

341

Jeronimo, 35, 39-40, 133 Joan of Are, 100, 204 Judicial combat, 14, 15, 18 Karate, 75 , 80, 90, 120, 128, 131 Kettle hat, 51 Kick, Kicking, 88-89, 125, 131, 156, 192 Kill, 53-54, 70, 91,149, 167,201 King John, 84 King Lear, 74,84, 127, 145 Knife, 50, 63-64, 73, 78, 90, 95, 107, 119-22, ｾＲＱ 128-31, 135, ｾＴＱ 149, 155-56,165,167,199 Knights, 9-16, 18, 44-45, 50, 74, 84-85, 96-97, 104, 109-10, 114, 138, 142, 153,155,178-79,186,188,195,204 Labat, 67 Lance, 10, 12-14, 16 Landsknecht, 50, 74, 132-33, 146 Lanesta, 9, 17 L' Ecole des Armes, The School ofArms, 35,40-41,67,201 Lists, 55, 71-72, 99,110,123,132 Lombards, 11 Longbow, 60, 83, 100-01, 145, 177, 204 Lorica segmentata, 7 Louis XIV, 47, 68-69 Ludi,9 Lunge, 32, 34,44, 66 Luxbruder, 66 Macbeth, 79-80, 84, 127, 164, 201-02 Mace, 50, 78, 84, 95, 104, 142 Mac Young, Marc, 120-21 Main gauche, 50, 67 Marozzo, Achille, 19 Marshall, Henry, 33, 123 Martinez, J. D., 124-26, 170 Marxbruder, 66 Mass fights, 105 Masters of Defence, 17, 22-23, 26 Maupin, La, 243 McBane, Donald, 39 Medieval, 33, 37-39, 48-51,67, 73, 8081,84-85,96,98-99,104, 111,114-15, 136-37,141,145-46,150-51 , 153,178, 190-91, 197, 204

342

Index

Melee, 10, 14, 25 Middle Ages, 10-12, 16, 18 Military fork, 78 Military swords, 37, 52, 197 Misericorde, 14, 16 Missile weapons, 60 Molinello, moulinet, 43-44 Morions, 51, 82 Morning star, 50, 78 Musketeer, 47,57,68-69, lOS, 153-54, 175,177,188 Myrmillo,9 Napoleon Bonaparte, 31, 83, 88, 113, 116 Naval swords, 36-37, 51-53, 73 New Model Army, 38-39 Norman, 37,47,71,74,84,97,108,137, 139-40, 179, 188, 196, 202, 205 Notation fight, 105, 125, 168, 202 Obsidian, 2 Odysseus, 3 Olympic, 31,62-63, 145 Orchestrating the fight, 105, 150 Oriental Arms, 58, 145, 153, 166, 196 Pappenheimer hilt, 142, 196 Parry, 31-33, 35, 39,43-44,70,76,87, 89,91, lOS, 119, 144, 147-48 Peloponnesian War, 4-6 Persian Wars, 64-65 Phalanx,S Pike, 50, 56, 58, 78, 82-83, 88, lIS, 13334,141,159,167,173,176-77,182, 204 Pilum, 7-8 Pirates, 81, 153 Playing the prize, 39-40 Poitier, 13 Poleaxe, 14 Polyens, 15 Positions of the hand, 44 Prises de fer, 77 Punch, 74-75, 88-89,120-21,128,149, 170,202 Quarterstaff, 32-33, 124, 126, 170 Quillons, 67

Quintain,9 Rapier, 8, 17-22,27-28; development of, 20,25-26; origin of, 17; rapier play, 21-23,28 Rathbone, Basil, 20, 69 Renaissance, 36, 39-40, 42, 55, 58-59, 64-65, 69-70, 72-73, 78, 80-81, 83, 9697,99, 107, III, 115-16,138, 140-41, 172, 187, 198, 200 Retiarius, 9 Revolution, American, 105-06, 129, 13435 Richard Ill, 33, 84, 92, 126, 179, 202 Riposte, 32, 34-35, 44, 76-77, 123, 144, 147-48 Roman Legions, 60, 161, 203 Rome, 72, 84, 92-93, 104, 106, 117, 138, 150,161-62, 177, 194-95,200,202-03 Romeo and Juliet, 84, 127, 145, 158,20102 Rondel, 50, 146 Roundhouse kick, 89 Sabre, 31-33, 43-44, 62-63, 72, 76, 78, 85,87, 110, 113, 122-23, 134-35, 14748, 190, 192-93, 196 Sainct Didier, Henri de, 66 Saint George, 86 Salute, 43, 62-63, 144 Samnite, 9, 78 Saviolo,Vincentio, 66, 159, 180 Saxon, 37, 96-97, 102, 137, 139, 189, 194-96,204 Schiavona, 50 Scramsax, 50 Sea fights, 93 Shakespeare, William, 79 Sheath,48-50, 108, 120, 122, 130, 135, 140 Shield, 2-5, 7-9, 12-14, 19 Shillalah, 33 Short swords, 158 Silver, George, 35, 39,40, 66, 110, 140, 158-60,180 Silver hilts, 42 Single Stick, 32 Skull-cap, 13, 15 Slapstick, 75

Index Slash,64, 131, 156, 165, 176 ｾＷＬＵＶ Ill, 177, 178 Slipping, Slip, 35, 60, 81, 89,149 Small-sword, 35-36, 40-42, 47-48, 59-60, 72, 95, 102, 116, 123-24, 134, 140-42, 196,200, 204 Society of American Fight Directors (SAFD), 59, 90, 92, 117, 123-24, 12627, 167, 172, 200 Spadroon, 36, 67, 134-35 Spanish swordplay, 24 Spear, 2, 4-5, 9-13 Spontoon, 78, 134-35 Stance, 39, 59, 64, 76,88,91, 109, 12122,149,180,184,199 Star system of foot-work, 59-60, 152, 186 Steps, 59, 130; linear, 59; lunging, 59; off line, 59; passing, 59 Stilletto, 50 Stocatta, 20 Stomp, 89, 125 Stone Age, 1-3 Stop-hit, 76 Strokes, 104-05 Styers, John, 63-64, 167 Suddeth, 1. Allen, 113, 167-70,200, Surcoat, 13 Swashbuckler, 66, 91, 118, 152-54 Sweep, 68, 89, 104, 199 Switchblade, 64 Sword, 2-4, 7-8, 13, 17-19,23,26; bronze, 10; development of, 5, 9-10, 14,26-28; iron, 6, 10; practice with, 9, 17,22,26; variety of, 8,10-12 Sword cutler, 52 Sword knots, 37, 85

ｾＴＦｮｩｬｓ

343

Takedowns, 108-09, 184 Tal hoffer, 167, 190 Testudo,8 Thibault, Girard, 66 The Three Musketeers , 68, 104, 153 Thrust, 35-36, 41, 44, 47-48, 61-62, 64, 69-70,72,76,83,87-89,91-92, 10507, 113, 123, 129, 133-35, 152, [56, 158-59, 161, 154, 170, 180, 184, 19091 , 196, 198,201-02 Tilting armor, 61, 71, 82 Tomahawk, 50, 106, 134-35 Tournament, 14, 16 Transition rapier, 65, 67, 126, [96 Triba[ Arms, 58 Troy, 84, 200 Uniforms, 38-39, 46, 56, 68-69, 73, 88, 98,100, 106, 154, 162, 175-76, 187, 190 Uppercut punch, 89 Viggiani, 66 Vikings, 12 Von Pappenheim, Gottfried Heinrich, 140, 194 Wardes, 34, 159 War hammer, 50, 78,142, 196 War scythe, 78 Wilde, Cornel, 69 William the Conqueror, 12 Wound, 53, 70, 91, 112-13 Wrestling, 75 , 108,183-84, 191-92 Yielding parries, 44

ABOUT THE AUTHOR MICHAEL KIRKLAND is Chairman, Department of Theatre Arts, Regent University, Virginia Beach, Virginia, and an SAFD Certified Teacher.