TMA Theatrical Martial Art – with Bo Thomas
How to do a martial art fight easy and fast. This is built around the normal vocabulary we use in stage fighting. You can get an inexperienced actor to look like he knows what he is doing.

Fighting More than One Opponent – with Bo Thomas
A lot of fights are between 2 people, so how to do a fight against more than one. Floating fights, keep the fight going and fight against everybody at the same time.

Rhythm and Tempo Fighting – with Bo Thomas
Film inspired, Jackie Chan fighting, Kayse fighting. It gets easier to make fast fights when you think in terms of rhythm and tempo.

Fights in Small Spaces – with Bo Thomas
You don’t always have the luxury of a big room, or a big stage. We are going to explore different kinds of work style and how to work with scenography.

Parkour and Stage Fight – with Bo Thomas
Can these to things work together! Let’s see what happens.

Massage Class – with Bo Thomas
Held later in the week, when everybody is sore.

Katana – with Braun McAsh
The major technique of this class will be based on the works of Miymoto Musashi (Shimnen no kami Fujiwara no Genshin, also known as Niten Koji) and his school of the Itto (single sword) of the Niten Ichi Ryu. (Two Heavens as One). It will also incorporate elements of other forms of Iaido such as the Seitei Gata and Aiki Batto form as well as individual techniques attributed to masters such as Sasaki Kojiro. It will include cutting and parrying as well as the use of the left hand when not engaged in the grip. The Niten Ichi Ryu, together with techniques from Korean Gum Do was the basis of the katana technique for the character of Duncan MacLeod on the TV series "Highlander," as choreographed by the instructor, F. Braun McAsh. This course is for beginners or intermediate practitioners.

Combat Knife – with Braun McAsh
Knife combat is not only difficult to stage for both stage and film because of its close proximity, it is also possibly the most dangerous form of bladed combat in which one can engage. There is no safety distance as in sword. Multiple hits can occur with blinding speed. This course will teach real knife combat techniques that the instructor teaches to both civilians and the military as a close combat art. Techniques will also be taught that are appropriate to film and TV due to their visibility (body movement "unstacks" the performers). The techniques are modern, but certain historical techniques will be demonstrated and discussed. No prior experience is necessary for this course.

Rapier Technique of the Italian Masters – Filthy Rapier Tricks 101 – with Braun McAsh
Rapier combat evolved over a period of over 150 years to go from an edge-predominant weapon to a point-predominant weapon. Each subsequent significant master simplified, refined or complicated the styles of those who came before. This will examine as a broad physical overview, the progression of technique from Agrippa through to Alfieri, touching on such masters as Saviolo, Grassi and Fabris and utilizing a wide variety of stances, attacks, defences and, of course, Filthy Rapier Tricks designed to kill, cripple and otherwise annoy. This course is designed for both the film and stage practitioner and historical stylist. Some prior experience would be helpful.

The Elements of Choreography – with Braun McAsh
The Elements of Choreography take the student through all the things that impinge on combat action: the set, set decoration, costumes, props, lighting and special effects, the script, actor and director, etc. In other words, all the questions that must be posed and answered before the first stroke of choreography may be staged. Learn all the considerations necessary to discover the story of the fight, maintain its integrity within the narrative of the script and the actor's interpretation of the role, deal with multiple departments whose jobs often conflict with your own, and create exciting and safe choreography.

The Three Musketeers, Behind the Luxembourg, Working on a Broadway Bound Production – with Bryce Bermingham
This class will recreate the new and improved version of the fight ‘Behind the Luxembourg’ for the Broadway bound production of The Three Musketeers with music by George Stiles (Mary Poppins). We will work with original music and script to re-enact this piece, eventually putting it on video for the composer, director, and producers to show what real trained stage combatants can do. This is a 9 person fight and students will sign up in groups. It is a rapier fight requiring left and right handed fighting, hand to hand, sword tossing, multiple attackers and a great deal of intensity.  4 Musketeers, 5 Cardinal’s guards in the epic battle that wins the trust of the Three Inseparables for d’Artagnan.

Triple D-A – Falling without pain – with Bryce Bermingham
Using the method of 3D-A, Distance, Deceleration, Disbursement and Absorption, students will learn how to make almost any fall possible. Work will be done on mats and applied to a fight with over 20 falls in it.

Blood Effects of the Grand Guignol – with Casey Caleba
This class offers a process for designing blood effects and their effective integration into the rehearsal and performance process, as well as a practical hands-on guide to easy and inexpensive tricks of stage blood. Dress for the mess, but we'll also have a safe splash zone to watch.

Re-Introduction to Rolling and Falling – with Casey Caleba
For students with little or no experience rolling and falling or students who want a refresher on how gravity and their body can be more friendly. We'll cover methods for breaking down a stage fall, anatomical principles, and alternatives to work around costumes and injuries - but mostly we'll fall down a lot.

Rolling With Furniture – with Casey Caleba
As sets become more like playgrounds, and audiences look for more dynamic fights, actors need to expand their athletic tool box. This class will mix simple parkour with stage movement as an introduction to rolling, vaulting, and moving over basic surfaces.

Victorian Swordplay for Modern Students – with Casey Caleba
Actors from Shakespeare to the Victorian era would have had less than a day to assemble dramatic fights - modern teachers often have a short time to run workshops or choreograph fights. When time is of the essence, stock routines and patterns solved the problem, and this class is designed for teachers to work safely, simply, and swiftly. We'll cover basic techniques, classroom strategies, and how to get inexperienced actors work up a "Pirates of the Caribbean" fight in an hour and half.

Lunging as if your life depends on it, even if it doesn’t! – with Cecil Longino
From the 17th Century forward both the Italian and French schools of fence are using a lunge as a primary method of delivering an attack. This class will painstakingly examine performing a mechanically and martially effective lunge. In conjunction with the lunge, we will also cover the additional actions of the subterfuge and redoublement.

Time permitting we may discuss some of the slight stylistic and aesthetic differences of the lunge found in various fencing treatises of the 17th and 18th Centuries.

Italian Sword, Dagger & Cloak – with Cecil Longino
Vincentio Saviolo very clearly spells out in his treatise, "His Practice in Two Books, the surest method to learn fencing is to begin with the single sword through this rather direct statement. "The true foundation verily and the true beginning from whence you may learn all things belonging to this art, is the rapier alone, and from it will I begin, and you shall perceive of what great importance this beginning is, and how without it hardly or never any commeth to true skill and perfection." Saviolo is not alone in this assertion among 16th Century fencing masters. In this class, we will explore a series of fundamental single sword actions along with the underpinning theory governing these actions. By relating the theoretical elements of time, measure, angulation and proportion directly against actions performed by our partners, we should gain a heightened physical understanding of Saviolo’s true foundation. Over the course of five days this class will build from the single sword foundation to practicing similar actions with the weapon combinations of sword & dagger and sword & cloak.

For Saviolo to claim the single sword can teach you everything relating to this art then our foundation should hold equally well whether we perform the actions with a sword alone or with a sword and companion weapon.

Quarte: The Handsomest Figure in Fencing – with Cecil Longino
French fencing masters such as L’Abbat and Olivier, alongside a host of others, praise the beauty and facility of the guard position of quarte. This class will focus solely on the offensive and defensive use of the quarte position in the French manner. Actions practiced will include the straight thrust in qaurte, disengagement, parade of counter quarte, the feather parade and quarte over the arm.

While practicing these specific drills against partners we will be following exact rules laid down for the use of the small sword. These rules are designed to keep the fencer safe in both attacking and defending. If one follows these, they cannot help but fence beautifully, beauty consisting in rule, as mentioned in Monsieur L’Abbat’s anglicized version of his fencing treatise, printed in 1734.

Safety, Story, Style – with Daniel Levinson
This workshop will focus on character, storytelling and style.  This will give the performer the opportunity to move beyond just the technique and really focus on the acting when building a fight scene.  We will use short scripts from various productions like: Fight Club, Stalag 17, and The Dispute, to help the participant work on making strong acting choices that further the story and marry physical techniques to the written text.

Comedic fighting – with Daniel Levinson
Fights can be funny for so many reasons, many of them intentional.  We will explore some of the ways we can find a laugh or two in physically inflicting pain.  Let this class help you exercise perverse humour in a safe and judgmental environment.  Warning: you will be made fun of.

Foundation Sword – with Daniel Levinson
A workshop for those who are western stage combat sword deprived. We will work on a universal sword system that allows the participant to adapt and develop to the various western single swords used most commonly in stage combat.  This class will focus on parries, attacks, and footwork.

Quarterstaff for Stage Combat – with Daniel Levinson
This class is a simple take on quarterstaff for those participants who have not yet had a chance to learn stick work.  We will be focusing on parries, attacks, footwork, and looking cool.  Think of it as the finer art of six-foot-long stick fighting for fun and profit.

Film Fighting – with David Boushey
In that there is a significant difference between fighting for stage and fighting for film I will attempt to explain the differences and focus on the technical aspects of film fighting. Fighting for film is not as commonly taught as stage fighting and yet there are far more professional opportunities in the film industry that currently exist in theatre. It will be my charge to introduce students to the intricacies of film and hopefully open them to a whole new world of expertise and future employment.

Yoga for the Performing Artist - with Kathleen Boushey
Learn how to use Yoga to focus and calm the nerves when dealing with the stress of opening night and life in general! By combining stretching, balancing, poses and breath control it will help integrate the body, mind and spirit. Through yoga one can find the calm, focus and well being needed in a stressful profession, and for that matter in a stressful life situation which exists in today's difficult climate.

Wushu - with Eric and Debbie Chen
Wushu Basics of hand techniques, stances and kicking, leading into combinations, jumps, aerials and weapons, will be instructed methodically. Reactions, choreography, fight scenes and simple wire work will be the end result.

Exploring Line, Distance and Intention with Rapier and Dagger – with Gregory Hoffman
Using fight choreography of rapier and dagger this class will explore playing and depicting Intention of the fight thru changes in Line and Distance.  The choreography will be challenging and taught fast and in order to explore in more depth how we can alter dramatic qualities of the fight by changes in line and distance.

Developing Physical Character for the Fight – with Gregory Hoffman
Using basic principles of Rudolph Laban that will be integrated into accessible terminology for the actor we will how we can quickly establish and create a baseline for a character physically, how this will radically adapt how a scene is played out, how quickly we can change from a physical choice and how this can be outside in approach to finding the truth of our character.

Working with small text assigned on Day 1 the actors will develop as a homework assignment a physical baseline for an assigned character and play out the first part of the scene, leading into the beginning of fight choreography, again exploring how a change in physical choice will lead to different actions, intentions and obligations in the playing of the scene.

French Military and Court Salutes – 17th & 18th Century – with Jacques Cappelle
We’ll cover from the musketeer period to the French Revolution.

The Hungarian Cut – with Jacques Cappelle
The advantage and use of the Hungarian method applied to every single weapon form of combat from the rapier to Zorro’s saber.

The class begins with the method and concludes with a sequence "à la Zorro" (Fred Cavens) or "Prisoner of Zenda" (Jean Herremans).

The French Grip – Trust in your Thrust! – with Jacques Cappelle
The innovation of the French grip in the 17th century: the supremacy of supination/precision over pronation/strength.

We’ll perform technical precision exercises leading to a sequence ‘à la Valmont’ (Liaisons Dangereuses).

The Martial Art of Stage Combat – with Jared Kirby
Advanced/Intermediate students and choreographers have found it very valuable to not only see how these swords were really used, but to learn how a martial foundation to choreography creates even more interesting stage/screen fights. Will focus on the Rapier, but applicable to many weapons

Capo Ferro's Guardia – with Jared Kirby
An in-depth look at the two dozen detailed directions that Capo Ferro gives in forming his guardia correctly.

A Time to Kill – with Jared Kirby
By looking at the application of "Tempo" to stage choreography we will explore different ways to get gasps and audible responses from your audience.

Cutting and Thrusting: Metamorphosis of the Sword and its Influence on Technique - with Maestro Ramon Martinez, Maestro Paul MacDonald, Maestro Jeannette Acosta-Martinez, and Jared Kirby
Through the centuries, the design of the sword has changed to fulfill the needs of the function of that Period. This Progressive Symposium will examine how the evolution of the sword influenced the way it was manipulated. This seminar offers the opportunity to analyze the application of Fencing theory as it is applied to four different weapons; Spanish Side-sword/Rapier, Backsword, Italian Rapier and French Small-sword. Each day, all four classes will look at the same principles so you can see how these principles apply very differently (or similarly) to each weapon

The concepts to be covered are:
Day 1: Posture, Positioning and Movement
[The Guard(s), stance and how to move differently in each]
Day 2: The Attack: Cut and Thrust
[Mechanics of the actions focusing on defensive considerations]
Day 3: Offensive Defence
[Considering your Defence while striking]
Day 4: How to start a fight
[Entering safely]
Day 5: Control your Adversary
[Controlling the interplay by controlling the blade, distance and time]
Day 6: Let's Get it On
[Analyzing the Assaults]

The 19th Century "Canne d'arme" and Canne chausson" – with Jean-Francois Gagnon
The Cane was adopted in France at the end of the 18th century by the Bourgeoisie as a 'defence' weapon in replacement to the sword that was not allowed in the street anymore unless you where an Hussar. Cane training had a great influence on what came to be known as the walk of the Dandy. The number of Savate and Cane Clubs in France at the beginning of the 19th century is proof of its popularity.

The "Chausson" or "Savate" used to be an art of fighting mainly with the feet but included some hand boxing technique before its evolution into a sport. "Canne Chausson" was the savate kicks combined with canne techniques. It is rapid and demands precision and striking force, using the spring in the spine and its impulse in the ground. It has no reason to be shy in front of the sword.

This course will teach an adapted for the theatre version of "Canne Chausson" giving to the participant the occasion of doing a choreography as we are learning the cane specific manipulation and some of the kicking techniques.

Physical Storytelling in Combat - with John C. Davis
This class explores the "microstories" of stage combat scenes that make your combat pop. This class is for all level of actor. It will take the beginner to the next level and refresh the experience combatant’s technique.

Bullwhip 101 - with John C. Davis and Spencer Humm
Learn to crack a whip like a pro, from basics to the techniques for developing advanced skills.

Bullwhip 102 - with John C. Davis and Spencer Humm
Come get crackin'.

The Cabala and the Cube – with John Scott Lennox
This class will study the grappling techniques of various Renaissance masters such as Marozzo, Dürer, Fiore, etc. through the basic concepts which allow them to work: The Cabala and the Cube. The Cabala is a series of points on the body which allow one to force their opponent to move in the desired direction. The Cube begins as a grid pattern for footwork. To create a full pattern of movement, the grid is then brought into the 3rd dimension as shown below. This class will show how to use this concept to defeat an opponent in grappling.

Unarmed vs. Knife – with John Scott Lennox
This is a class on dealing with an opponent who is armed with a knife, while you are unarmed. It will explore stance, tactics, mind set and techniques of disarming, taking the knife away and immobilizing the opponent.

Stealing Time – with John Scott Lennox
This class shows how to force your opponent to do what you want them to do during their time in a close quarters encounter.

Two Negatives Make it Suck – with John Scott Lennox
This class explores the theory of unarmed and armed close quarters combat and how to systematically break down your opponent’s offensive structure.

Boarding Actions: Cutlass and Axe – with John Scott Lennox
This class focuses on weapons of shipboard combat - Cutlass, Boarding axe, tomahawk, knife, and slingshot. Included in this is single weapon vs. double weapon, and drills to deal with close-quarter combat.

The Art of Combat System – with John Scott Lennox
This is the system of stage combat used by my company, Art of Combat. It is historically based, and shows how a fight director can make historically accurate, and very exciting fights.

Acting the Fight – with John Scott Lennox
This class is how to add the characterization into your choreography. It is extremely important for the new fight director, and is also very useful to the actor/combatant, as it will explore how expressions and body language help tell the story of the combat.

Knife/Counter-Knife Combatives: Knife Fighting in the Close Quarter Range – with John Scott Lennox
This class will focus on the use of the knife while fighting at close quarters.  This class will build upon basic fundamentals of fighting theory and examine how the dynamics of knife combat change at different ranges.

Topics to be covered will include:

• Basic Fighting Theory
• Stances
• Footwork
• Gripping the Knife
• Angles of Attack/Targeting
• Cutting & Thrusting
• Use of the Knife against other Weapons
• Grim Realities of a Knife Fight: What to Really Expect

Students are encouraged to bring some form of knife simulator (preferably rubber) or a short wooden dowel as well as protective eyewear.  Hand protection is also highly recommended.

Early American Fighting Arts: The Bowie Knife – with John Scott Lennox
This class will examine the development and use of the bowie knife from an historical perspective.  How the weapon was used and how cultural influences play a part in fighting techniques will also be examined.

Topics to be covered will include:

• Birth of a Legend: A Brief History of the Bowie Knife
• Basic Fighting Theory
• Form and Function: Varieties of Bowie Knives
• Carrying and gripping the knife
• Stances/Guards
• Footwork
• Angles of Attack/Targeting
• Attacks
• Defences

Students are encouraged to bring some form of bowie simulator as well as protective eyewear.  Hand and forearm protection are also highly recommended.

Early American Fighting Arts: Tomahawk and Longknife – Fighting Arts of the Longhunter – with John Scott Lennox
This class will examine the development and use of the tomahawk and longknife/trade knife as a weapon along the American frontier.  Migration of fighting styles and cultural influences and their role into the development of these fighting styles will be examined.

Topics to be covered will include:

• The Development of the Tomahawk and Longknife
• Basic Fighting Theory
• Native vs. European Combat Theories
• Carriage of the Hawk and Knife
• Grips
• Stances/Guards
• Footwork
• Angles of Attack/Targeting
• Attacks
• Defences

Students are encouraged to bring a tomahawk and knife simulator as well as protective eyewear.  Hand and forearm protection are also recommended.

Paddy Crean Stuff – with Jean-Pierre Fournier
A small number of sequences and moves Paddy used in some of his film and stage works. Some of it includes moves for which one would say, "One would never use such moves in a real fight!" True… but he did this for stage and screen, with the audience and actor in mind.  It was done for safety, “fun” and entertainment. He also used to say, "Good Stage Fighting is the true marriage of the art and sport." The sequences had names such as "Poop Deck Fighting", and " Baronial Hall Traveling".

Artistic Fencing – with Kristofer Jorgensen
Feel like a winner? Ready for some demanding choreography? This 4-day course offers an exploration of stage fighting as a competition sport, as it is promoted by the International Academy of Fencing (Academie d`Armes Internationale). Instructors Kristoffer Jørgensen and Karsten Hoffmann both hold gold medals from the latest World Championships in San Marino in September 2008, and will take participants through excerpts of their winning choreographies.

Introduction to the NSFS Knife Fighting System– with Kristofer Jorgensen
The Nordic Stage Fight Society has developed a consistent system for knife fight choreography, fusing both historical and contemporary martial arts, both Western and Eastern influences, with the stage combatant’s need for a readily usable vocabulary of stage friendly (and performer-friendly) techniques. This is a crash course, building a choreography as we go along.

Knife Disarms – with Kristofer Jorgensen
Useful disarms against a knife-wielding attacker. Some even work!

Case Study Choreography: Knife vs Unarmed in an Elevator – with Kristofer Jorgensen
2 persons. 1 knife. A nasty, no-holds-barred fight in a cramped space.

Introduction to Aikido – with Kristofer Jorgensen
A hands-on introduction to the gentle and painful art of stealing your opponents balance.

Aikido and the Sword – with Kristofer Jorgensen
Mixing armed and unarmed techniques, tracing how sword techniques have influenced aikido and vice versa, with some neat sword disarms included.

Rapier Disarms – with Kristofer Jorgensen
Disarms for every season; some classics, some new.

Instant Rapier Choreography – with Kristofer Jorgensen
Ever had to come up with choreography on the spot? This class shows how to build fights really quick, using modules. This method is for when you just have to get the job done. It may not always be the height of the art, but it works.

Flexible Weapons – with Kyle Rowling
If an object bends or folds in any way, then it falls into a family of weapons known as ‘Flexible’. Whips, chains, nun-chuku or a leather jacket; all of these items share similar characteristics and require specific techniques, so as not to become lethal to their user. Learn the secrets to controlling the most uncontrollable weapons on the planet; as we first identify what ‘flexible weapons’ are, then discover their strengths and weaknesses in combat.

Greek Spear & Shield – with Kyle Rowling
The Ancient Greeks were some of the earliest and greatest warriors of all time; they conquered most of the known world and their primary weapons were the humble 'Spear & Shield'. Although almost every culture in history used the spear and shield in combat, it was the Ancient Greeks that really made an art-form of it. Learn the ins and outs of fighting with the spear and shield; both in group formations, (the Phalanx), and in single combat; as well as exposing some of the myths and realities of fighting with these weapons. Kyle trained Eric Bana for "Troy" and he has continued his study of this weapon system since, making it one of his specialities. He presented some of his work on this topic at last year’s Shenandoah Project.

Fighting on Camera – with Kyle Rowling
Learn how to make the most of your combat skills for film, by understanding the camera frame and your position in it; as Kyle shares some of his personal tricks and tips for ‘Fighting for Film’. Kyle appeared in two of the Star Wars films, fighting as Count Dooku and General Grievous. He also worked as Sword Assistant to Nick Gillard, intently in the Fight Department for these films; as well as for this year’s blockbuster “Wanted”, where he served as the knife specialists and fight double, and dozens of Australian productions.

Firearms with Flair – with Kyle Rowling
Learn the basics of 'Theatrical Firearms' use, including holding the weapon, stances and body positions, safety tips and some nifty disarms. Explore a mix of some highly realistic techniques, as well as a few fun ones for theatre and film.

Principles of Staged Combat for Theatre – Basic to Advanced – with Laryssa Yanchak
Principles of stage combat for theatre that can be applied to all disciplines of combat work for stage to make your work safer and more believable. We will be using basic unarmed technique to demonstrate and practice these skills.

Selling It – Basic (to Advanced) – with Laryssa Yanchak
Want to know how to make your performance more convincing? We’ll look closely at being the aggressor, the victim, reactions and tricks to making your work more believable. Curriculum will include basic unarmed techniques for the stage and acting your way through a fight.

Introduction to Broadsword for Theatre – with Laryssa Yanchak
If you’ve never picked up a sword and/or want to make sure you look like you know how to use one, this class is for you. We’ll study technique based on historical fact but that has been adapted to tell a convincing story and keep you and your partner safe.

Tackle Time! – with Mary Karcz
Students will learn multiple techniques to tackle an opponent to the ground. Open level class, students should know how to do a forward and backward fall.

Feats of Daring: Lifts, Carries, and Comic Acrobatics, Part I – with Matthew R. Wilson
aka, "How the human body supports weight--its own or someone else's." aka, "Things to do on stage, other than standing around." We begin with individual explorations of the basic kinesiology of balance and then move toward partner work in giving and receiving weight and contact improvisation. Utilizing the Swiss acrobatics maxim, "I put my center under the thing that I do not want to die," we study basic techniques for lifting, carrying, and catching human bodies. We then progress to more complicated balance' techniques which have both violent and non-violent applications. Great for slapstick, clown, ensemble work, and developing advanced grappling choreography.

Deadly Feats of Daring: Grappling Off the Ground, PART II – with Matthew R. Wilson
Prerequisite: Feats of Daring, Part 1
This Intermediate/Advanced class continues the work of Part 1, allowing participants to develop their own techniques and to apply the studied techniques in unarmed choreography, ranging from spectacular slapstick to vicious, realistic grappling.

Dust Off Your Arlecchino: Today’s Commedia dell’ Arte – with Matthew R. Wilson
International Commedia artist, Matthew R. Wilson, who has served as an instructor at Antonio Fava’s Stage Internazionale di Commedia dell’ Arte since 2004, leads an interactive workshop on the history, theory, and techniques of the Commedia dell’ Arte, in which participants will learn the gestures and behaviours of the major Commedia types and also discuss how this Renaissance art form relates to the theatre of today.

Unarmed with Knives – with Matthew R. Wilson
An introductory class in Knife fighting with an emphasis on Knife as an extension of unarmed, close-range technique. Introductory Knife skills include eye contact; casting energy; maintaining safe distance; cuts and thrusts to a variety of targets; hand checks; off-line footwork (thwarts, traverses, and avoids); and simultaneous action. After partner drills on knife techniques, participants will be taught a brief, unarmed fight, containing punches, blocks, avoids, and grappling. Then partners will be asked to study how the same choreography could be modified for cases in which one combatant has a knife, both combatants have knives, or one combatant has 2 knives. The instructor will monitor this student-centered exploration, and then partners will present their brief "scenes" to the class for observation and discussion of similarities & differences between Unarmed & Knife techniques.

Broadsword Slapstick – with Matthew R. Wilson
This Basic Broadsword class will introduce Broadsword technique in the context of comedic fights (e.g., Ajax v. Thersites or 2 Capitani in a Commedia dell' Arte duel). Introductory skills include eye contact; casting energy; maintaining safe distance; cuts, thrusts, and swipes; parries in all lines (1, 2, 3, 4, 5); and linear & non-linear footwork (esp. thwarts and avoids). Additional concepts will include non-traditional uses of the Broadsword (such as "attacks" with the flat of the blade, quillons, or pommel), lazzi of battlefield mistakes, and Keystone-Kops-style chase sequences (with avoids, thwarts, crawling between legs, etc.) Basic partner drills will serve to introduce the weapon. A short bit of choreography will allow participants to rehearse a fight. Then participants will be encouraged to embellish choreography with lazzi, catastrophes, and character motivations (e.g., an accidental fight, a duel between cowards, a "bruiser" chasing and being bested by a twerp, etc.).

Where to Put the Pointy End: Smallsword Technique – with Matthew R. Wilson
An introduction to Smallsword as a unique style of swordplay, this class focuses on developing skills in point work and understanding the tactical strategies behind thrusts and supinated parries. The class begins with a very brief introduction to the historical Smallsword style and a primer in how the weapon is held and utilized. The focus of skills is on eye contact; maintaining safe distance; precise thrusts to high- & low-line targets; efficient, supinated parries in high- & low-lines (7, 8, 6, 4); and basic, linear footwork. Simple partner drills build to a short, choreographed sequence emphasizing parry-ripostes, deceptions of parries, and Smallsword prises de fer, with an emphasis on safe & efficient point work and the physics of superiority in prises de fer (e.g., thumb in opposition, forte to foible, etc). Efficiency over speed, technique over force, and style above all.

No Hands Tied Behind Your Back: Intro to R&D – with Matthew R. Wilson
A Basic class in Rapier & Dagger introducing the simultaneous action of double-fence fights. Introductory skills include eye contact; casting energy; maintaining safe distance; parries with each weapon in their outside lines (2, 3, 5 for each weapon); cross parries, reinforced parries, replacement, and parallel parries; thrusts and cuts with both weapons; and off-line footwork (thwarts & avoids on the circle). Partner drills will introduce cuts and parries to all lines.  Then a brief piece of simple, double-fence choreography will be taught (initially without simultaneous action or double-weapon parries). This choreography will then be slowly enhanced by the inclusion of the "off" weapon for double-weapon parries, stop thrusts, and double-time encounters.

Buckler Bashing: The Shield for Offense and Defence – with Matthew R. Wilson
A Basic Sword & Shield class with an emphasis on the Shield as both a defensive and an offensive weapon. Introductory skills include eye contact; casting energy; maintaining safe distance; cuts to all lines; parries with sword and shield; offensive moves (swipes, punches, presses) with the shield; and basic linear & offline footwork. Partner drills will serve to introduce proper technique for cuts and parries. Then participants will rehearse and present a choreographed sequence emphasizing the use of the shield for both defence and offense.

The Long and the Short of It: Intro to Quarterstaff – with Matthew R. Wilson
This Basic Quarterstaff class will introduce the weapon with emphasis on its adaptability for close-, medium-, and long-range combat. Introductory skills include eye contact; casting energy; maintaining safe distance; short-form and long-long form cuts and parries; long-form thrusts; and linear & off-line footwork.  Partner drills will first introduce short-form cuts & parries, followed by long-form cuts and parries. Then participants will rehearse and perform a choreographed sequence that emphasizes transitions from short- to long-form and tactics of contracting or expanding fight distance.

Everything but the Seltzer: Unarmed Slapstick Comedy – with Matthew R. Wilson
This unarmed class focuses on the non-mimetic aesthetic of slapstick violence, including slaps, punches, kicks, hair/ear/nose pulls, eye gouges, lazzi, and the logic of non-realism. Participants will learn a variety of standard unarmed slapstick-style gags and then will be encouraged to choreograph sequences with a partner and invent their own gags and routines to present to the group.

Swashbuckling with a Side of Alexander – with Matthew R. Wilson
An introduction to Single Sword emphasizing Alexander Technique as a means toward achieving the grace and ease of classic swashbuckling. Introductory Single Sword skills covered include eye contact; casting energy; maintaining safe distance; thrusts & cuts; basic, pronated parries in all lines (1, 2, 3, 4, 5); and simple linear footwork. The pedagogical emphasis will be release and expansion--Alexander Technique principles necessary for "proper" form (or, at least, minimal wear & tear on the body and psyche of the actor!) These points of emphasis included relaxation in shoulders, neck, tongue, and jaw; thrusts and cuts that are fully released (with no excess tension or contraction); and a widening of safe "fight distance" that allows combatants to safely expand and pursue targets with full intent and commitment rather than "pulling" (i.e., contracting) attacks in close distance. Partner drills lead to a short, choreographed sequence emphasizing showmanship and style with the help of Alexander principles.

Beginner Sword – with Meghan Cooke
Like really beginner, as in which end do I hold? What's the stubby thing on the "handle" and what the heck is a thwart?! (get my drift?). I'll never forget my first class at a Paddy - I was so confused!

Myofascial Release and Flexibility/Mobility Training for the Physical Actor – with Meghan Cooke

Functional Fitness for the Stage Combatant and Stunt Person – with Meghan Cooke
How to stay fit, balanced and uninjured. And, how to train and prepare yourself for physical action especially when you can't (or shouldn't) rehearse repetitively. It could easily be a progressive class as we could dig deeper into analyzing the common movements used in our crafts (i.e. lunges, dive rolls, head snaps etc.). I would love to have some "toys" to use as I did last time: bosu balls, fit balls, med balls, skipping rope etc.

Female Fight Class – with Meghan Cooke

My Favourite Guards – with Michael Joel Winderman
This Class will cover the eight Guardia(guards) from the Italian systems of Rapier and Sidesword that I have found over the years to be the most useful. Practical Combat applications and tactics will be covered as well as how to use them to create different characters for staged combat.

Staged Combat on the Cheap: How to safely stage fights with Olympic Fencing Swords and Shinai - with Michael Joel Winderman
This class would cover how to work with foil, epee, saber, and shinai when you are forced to do a show on a budget.

Women in Stage Combat – with Niki Witt
Not to exclude you blokes, of course! We look at what women go thru to deal with stage combat, from domestic violence situations, dealing with aggressive male characters/actors, how to play 'the victim', kick arse fantasy female characters and not forgetting historical women and their desire to fight for something that was important to them - Boudicca, Joan, Moll etc.  Also how great the woman fighter is with her desire to tear into another human, not just bruise the surface with a John Wayne punch!!!

Making the Cut - Progressive Backsword - with Paul MacDonald
Progressive classes moving from the fundamental principles of stance, movement and blade mechanics towards advanced techniques and strategic considerations.
Day 1: Posture, Positioning and Movement.  [The Guard(s), stance and how to move differently in each]
Day 2: The Attack: Cut and Thrust [mechanics of the actions, focusing on defensive considerations]
Day 3: Offensive Defence [Defending and striking at the same time]
Day 4: How to start a fight [Entering safely]
Day 5: Control your Adversary [Controlling the interplay by controlling the blade, distance and time]
Day 6: Let's Get it On [Analysing the Assaults]

Stick it to him! - The Art of Devastating Quarterstaff - with Paul MacDonald
If you have ever wanted to know exactly how to make that big stick really work, then look no further!

This shall be a hands-on practical class in the effective martial use of quarterstaff at all measures from long to close. The MacDonald Academy method is based upon all surviving textual references from the C17th and C18th for martial application of the European staff.

This is an extremely effective combative way to strike and defend with the staff. For stage combat, it also looks visually dynamic, sells every action given and is martially valid!

From long staff, through half staff and into close combat techniques and counters,=2 0this shall be one fast paced and energetic class.

How we Won the War! - WW2 Commando Close Combat – with Paul MacDonald
A demonstration of the highly effective combative fighting methods of the British Commandos and Allied special forces of WW2.

The British Commandos pioneered military special forces raids and tactics, and all training given to special forces Worldwide today has its roots from the special training centres of the Highlands of Scotland during the 1940`s.

Paul MacDonald shall present this demonstration of the original methods of unarmed and armed close combat, silent killing and combative use of the pistol, as taught by close combat legends, Fairbairn and Sykes.

Signs of the Times - Symbolism in Western Martial Arts – with Paul MacDonald
A seminar class examining what lies behind martial symbology within Western martial arts.

Principally looking at specific images from the C15th and C16th, this class shall take participants on a perceptive journey, interpreting the esoteric elements of the Art and the self in combat.

Down and Dirty with Brad and Paul - Medieval Dagger Combat – with Paul MacDonald
Join Brad Waller and Paul MacDonald as they combine their martial experience in this close combat dagger class. Most basic elements of play shall be covered, such as grounding, movement, making a strong defence, swift disarms and counters to all actions.

Techniques are drawn from treatises of the C15th and C16th and shall be effective for both martial artist and stage combatant. This shall be one physical class, up close and personal!

Like a Good Whisky - C18th Small Sword of Donald MacBane – with Paul MacDonald
Donald MacBane was a fighting legend in his lifetime throughout the C17th and C18th as a Highland fencing master and soldier.

He was a veteran of many battles, skirmishes and duels, and developed a unique method of small sword fencing that was as subtle as it was strong. This was specifically designed to counter the common methods of the day, and was put to practical use on many a combative occasion.

Participants shall learn and practice core elements of this method as well as hear many a fighting tale from the incredible life of the old gladiator MacBane.

Capoeira Angola of Bahia Brazil – with Eric Michael Johnson
For the adventurous and intrepid (and maybe mildly unhinged!) who want to explore radical potentials in the realm of unarmed martial arts, self-defense, and dance/movement, this series of classes with the sly trickster Perere will take participants into awesome body inversions, beguiling attacks and wily defensives. You will explore how to kick people in the head from handstands! How to evade (and apply!) takedowns and throws with cartwheels! How to use your head for something more productive than using it for silly things like thinking & other higher reasoning functions (like hitting people with it!). Capoeira Angola - an audacious art of war, liberty, and sorcery; created by Africans and their descendants in colonial Brazil to fight against centuries of institutionalized human enslavement - is brimming with strategy, deceptive cunning, playful theatrics, tumbling, and what only 'appears' to be nearly out-of-control martial arts: all wrapped-up in an amazing circle-game played to live percussive music and song. Can you dig it!

Kenjutsu: Archaic Japanese Swordsmanship – with Eric Michael Johnson
Kenjutsu: in this case - the combative battlefield use of the tachi (sword) was a mainstay of archaic warfare in feudal Japan, but was very different than the dramatic, theatrical, and often 'flashy' interpretations offered in the cinema. Battlefield kenjutsu is direct, efficient, terse, and often crushingly brutal. This master class will offer a brief glimpse into traditional kata (pre-arranged forms) training, methodology, and esoteric mind set of Japanese classical swordsmanship. While it is true that all Samurai endeavoured to follow the ideals of the Bushi (warrior), not all Bushi were defined by the code of the Samurai. This class will explore some of those basic differences.

The Irredeemable Edge: Brazilian Straight Razor Fighting & Self-Defense – with Eric Michael Johnson
Developed over generations by ruffians, hooligans, & tough guys and seasoned in the perilous street culture of modern Brazil; the navalha (straight razor) has justly earned its bad rap as one of the most evil hand weapons in the world. Delicate & fragile, devilishly sharp, and deceptively applied to fiendish ends - the straight razor has achieved a very special (if creepy) place in the modern mental environment as a tool of those who smirkingly stroll, perhaps, over the line into the more shadowy areas of human experience. Straight Razor-In-Hand, you too will explore some of the potential crossroads and applications involved in this most intriguing & beguiling of human grooming implements with a disciple of one of Brazil's last great masters of the art.

Knock 'em Down & Take a Fall – Brazilian Style – with Eric Michael Johnson
Take-downs, foot sweeps, Throws & Rolls exist to some degree in most all fighting and self-defense systems and traditions. But from the perspective of traditional Brazilian Capoeira they are refined into an all-together sublime art form in-and-of themselves. Based on the principles of Malicia or 'deceptive trickery' and blending with the pull of gravity, these techniques of giving and taking a tumble will at least amuse & entertain if not amaze.

Basic Law for Actors – with Randall Reade
Learn the basics of contract law, and how to enforce a contract. We'll take real world situations that artists find themselves in and learn how to protect yourself and your assets, legally.

Anti-Aging Methods for Actors – with Randall Reade
Learn how to find the best products to keep your face looking as youthful as possible, and why good nutrition is an essential component. Find out the latest scientific techniques to keeping a flexible face and fight off cellulite.

Stage and Film Jiu Jitsu Techniques: Exploiting the gentle art for safe throws and partnering techniques – with Rick Skene
Description: the course will explore various Jiu Jitsu throws teardowns and locks that can be exploiting in a stage and film performance to safely and gently appear to toss and submit you stunt or stage partner. 

Stage and Film Jiu Jitsu Techniques - Ground Game: Exploiting the gentle art for reverses and ground tactics – with Rick Skene
The course will explore various Jiu Jitsu mounts and reverses and submissions from the ground.

Hong Kong Fighting – with Robert Goodwin
The fast and exciting approach to today`s action films. This class includes audio and timed cues; multiple kicks; various strikes; assorted blocks and ducks; footwork from boxing, Kali, and Shao-lin; unique punctuation and Hero postures.

T'ai Chi Ch'uan – with Robert Goodwin
The Chinese approach to mental and physical health that has principles directly applicable to fighting, combat and acting. The solo form and two person sensitivity exercises stress natural, relaxed movement and internal strength through softness. Most recently taught to Robert Downey Jr. and Jamie Foxx for "The Soloist".

From Strangers to an Ensemble – with Robert Goodwin
A one hour exploration through music, partnering and psychological approaches of movement that can allow loneliness, acceptance, affection and other natural feelings to manifest themselves in a crowded environment. Taught to the entire ensemble of "The Soloist".

Katana – with Robert Goodwin
Japanese sword techniques from Kendo & Iaido adapted for film and stage. Specific, traditional sword principles taught that give one an understanding of why this weapon, and its techniques, have not changed in decades. The breath control, patterns of movement, timing, footwork, drawing, cutting and Warrior Zen teach the focus and control of what has been often referred to as a three foot razor.