Classes

Virtual Paddy Package Class Descriptions


All classes need a space big enough to stand in and take a few steps all around, fully extend your arms with the requested props without hitting anything. 

The following classes will all the offered on BOTH packages: 

Finding Your Form
Instructor: Lyndall Grant (Australia)

Our bodies form movement patterns and habits throughout our lives – through physical patterning and training, sociocultural influences and also through mental and emotional characteristics. Once a neuromuscular pattern is formed, the body tends to stick with it – like a well-worn path. This is fine until you want to learn new physical skills, embody physical dexterity, or just learn to move with freedom and efficiency. This session is a deep dive into developing the proprioceptive and instructive pathways between the conscious brain and the body, with the aim of finding our ‘best’ form for any physical activity. It is slow, still and INTENSE. You will leave with some tools to bring into your own ongoing work… as you start the endless journey of finding your form.

Equipment Needs: A mirror or reflective window or personal device that you can use to watch yourself while doing the work. Class can be done without this, but it will enhance your experience.



Short Sword: Stances and Cuts 
Instructor: Oula Kitti (Finland)

This class gives basic drills and handling exercises for the students to train their fundamental cuts and movement with single, one handed, short sword (think Gladius, Kukri Machete, or Scramasax). We will explore a combination of different martial styles and historical weapons to give a broad base of expressive movement. It can also be used as a base for a daily training routine for those training on your own.

Equipment Needs: Trainers in the listed weapons are great or a Kali stick is a good substitute A dowel around 70 cm in length (lightweight). Taping an edge may help you orient the movements. 



Creating Shapes with Medieval German Longsword
Instructor: Jess Finley (USA)

Despite having a reputation for being brutish and simple, medieval longswords have a complexity of movement that can be explored and expanded upon to more efficiently move the sword through space. These shapes can be visualized as force fields, water bending, or physics vectors, depending on the context your imagination prefers! In this class we will explore these movements and create some shapes in our spaces!

Equipment Needs: Longsword or 48 inch dowel. Taping edges may help you orient the movements. 



Acting Love & Violence: Text work and character choices related to scenes of Intimacy and of Combat
Instructor: Siobhan Richardson (Canada)

A class which actually tells you HOW to act the scene. This class includes suggestions for what you should know about your character, questions to consider about your character and the script, suggestions for how to tell that story physically and vocally, and what parts of the movement you must keep consistent for safety and story. 
Note: Students will be sent short scenes ahead of time, to read and be familiar with before the class begins.

Equipment Suggestions: a writing implement and the script (or however you like to make your acting notes). 



On the Knife’s Edge
Instructor: Kev McCurdy (Wales) 

“The weapon is deadly"…I totally agree with that statement….but once you put it down, it becomes nothing. The person holding it, however, has ‘a state of mind’ that we can’t cater for. Join in for an intense but fun real time session.

Equipment Needs: A dull, safe to touch knife - stage combat safe knifes, rubber trainers, or a dull butter knife. 


All classes need a space big enough to stand in and take a few steps all around, fully extend your arms with the requested props without hitting anything. 

The following classes will all the offered exclusively in the Panache Package

Chekhov's Gun and Beyond: Basic Firearms Handling for Performers and Visual Storyteller
Instructor: Kevin Inouye (USA)

Whether it goes off in Act III or not, production teams need to treat prop firearms as though they could, and that means safe, responsible, informed, and believable gun handling. We'll briefly touch on the types and uses and limitations of common props types, then go into the basics of safety, grip, stance, protocol, etc. that you'll need whether you're telling your story on stage or on set. 

Equipment Needs: A non-firing vaguely pistol shaped object: banana, hair dryer, cardboard cutout, rubber dummy, nerf gun, water gun, etc. (NO real guns please) 
*If handling a replica firearm please participate from a controlled, private space outside public view.



Kicking Around
Instructor: Kay Mak (Canada)

Whether it's with a partner, a sparing bag or by yourself, fundamentals are key. In this class we will work on a range of kicks and break them down to their finer detail. 

Equipment Needs: None.


Italian Rapier & Dagger
Instructor: Ian Rose (USA)

Two feet, two hands, two weapons. We’ll shore up your footwork and explore the italian forms of the Rapier and its companion the dagger.

Equipment Needs: Rapier and dagger or equivalent learning tools (1 meter long stick, footlong kitchen utensil, etc)



Intimate Viewpoints
Instructor: Samantha Egle (USA)

Utilizing some of the principles in the Viewpoints tool kit and techniques of developing intimate choreography for the stage, we will explore how to organically add depth and specificity to intimacy with intention. 

Equipment Needs: A chair, a small object that can be held in one hand (apple, ball, etc.)


Emptiness Compass!
Instructor: Scottie Witt (Australia) - Open Discussion Class Format

This is a class where we can discuss your process of delivering stage combat to students. My process is detailed below as a starting point - let's see where we can go!!

The narrative in my head now given my age is to be more succinct with my education.

What fascinates me is that it doesn’t matter what I teach, I get amazed at the lack of specifics most students don’t pick up on – they appear to be obsessed with getting it right and the net loss is the details and specifics. It is impossible for an actor to look at the entire picture (by picture I mean choreography or sequence of movement etc) presented to them and then upload that and perform it straight away with extreme accuracy. I would even go so far as to say there is a disconnect between the upper body and the lower body in young actors today.

So what and how do I help to create a more detailed and specific physical actor? That is my dramatic question.

My Principles are:
- Process (working through something)
- Product (result)
- Content (task / exercise at hand)

During the exercises I set; students always struggle to remain in process because they will think the content is asking them for a product.

 My belief is that to stay in a process a student needs to be in a state of emptiness. So to keep them in a state of emptiness I use this compass to help them navigate their own journey. The 12 points on the compass are access points for me to unpack further concepts and ideas. None of these words are original, it's more about how I have arranged them in this compass.
  
EMPTINESS COMPASS
Chaos & Order
 Spirit & Energy
Listening & Sensitivity
Time & Space
Structure & Alignment
Function & Form
Empathy & Harmony
Patience & Understanding
Versatility & Adaptability
Truth & Logic
Contrast & Contradiction
Problem Solving & Prioritising 
 
The combination of the Emptiness Compass and the Principles makes up my iOS. To have a deeply well programmed iOS one needs to develop deep processing power. Once you have that the iOS runs in the background so one can make deliberate choices. To extend the metaphor a little; learning a waltz, sword fight, footwork, slapstick routine or any other expression of movement for story telling are just the 'aps' that are opened up and run by the iOS.

 This is how I navigate an actor’s development and what is happening in the room for me so I can make a choice about their journey. And truly speak to the moment as a teach / to go where the class or moment is taking me and therefore truly be there for the student.

Equipment Needs: N0thing

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