:dagger_knife:On Fight Directing - Terry King :older_man::skin-tone-3:…
:dagger_knife:On Fight Directing - Terry King :older_man::skin-tone-3:
Q1) Why do you need a fight director?
so that someone can be trusted with successfully choreographing fights
so that someone is available to suggest ways to safely and effectively proceed with fight scenes
so that someone can work effectively with the director and actors in order to complete these aims
so that someone will be able to make an accurate visualisation of what the writer has suggested, of what the director would like and of what the actors feel like they are able to accomplish
Q2) What important points does a fight director have to consider regarding context? A fight director has to consider...
making sure the director is happy and the actors are comfortable with their role/part before assigning them first before-hand
making sure the actors are able to play their assigned role in the fight and have no difficulty
making the actor feel comfortable with what they're doing
Q3) What does Terry King get a huge satisfaction from in regards to working with actors?
Terry King gets a huge satisfaction from (in regards to working with actors) when actors who dread the thought of doing a certain action come up to him and say "Thank you", in return for the experience or overcoming their fear.
Q4) What is absolutely paramount?
Terry King says "Obviously the safety of any fight is absolutely paramount", meaning that safety is the number one priority and the certain precautions must be followed in order to avoid accident.
Q5) You shouldn't think of the other actor as your opponent but your.... What?
"You shouldn't think of the other actor as your opponent but your partner". Terry King speaks these words because he understands that you are technically acting, so you have to treat other actors as your partner, not a literal enemy.
Q6) What are the 3 R's?
The 3 R's are Rhythm, Reaction and Reality - Rhythm being very important for stage sword-fighting, Reaction being very important for stage hand-to-hand combat, and Reality being important for knowing realistic and not realistic in Reactions.
Q7) What is the horrific injury in King Lear and what is the name of the victim?
The "horrific" in King Lear is the blinding of Gloucester - the name of the victim is Gloucester.
Q8) When thinking of weaponry what do you have to consider?
You must find weaponry that is appropriate to the world and timeline in which the characters are existing.
Q9) What did the director of King Lear want?
The director of King Lear wanted the production to be bloody, and gory.
Q10) 10. Name one way that you could show an eyeball has been removed (on stage) and thrown onto the floor - what would you use?
Terry King states that, to show an eyeball has been removed (on stage) and thrown onto the floor, you would have to conceal or hide the victim, before revealing the gory outcome.
So, one way I would show an eyeball has been removed (on stage) and thrown onto the floor is by, maybe cutting the lights for concealment and consequently permeating the stage with an agonising screech, before brightening the lights again to reveal a half-dead mangled corpse (don't worry, it would just be exceptionally accurate makeup) with a fake eyeball rolling around on the floor, fake blood trailing behind it.
Rajoshee Chowdhury, 9S(a)