"A
Cut Above The Rest"
| Contact Information and Photo Gallery |
| Fencing
Classes |
| School
Programs |
| Individual
Lessons |
| Competition and Equipment |
| Fencing Camps |
| Staged Combat |
| Event
Calendar |
| Fencing
Basics |
| About
the Instructor... |
| The
main goal of The Cutting Edge is to bring fencing to youth via
during-school and after-school programs. |
"Time reveals truth. And since distance creates time, it is only with this that you can ever know the truth."
"Winning isn't a some time thing--it's an all time thing."
-- Vince Lombardi
"Those who fear to try know not their limits, and thus--know not themselves."
"Parry as late as you dare."
-- Bruce Lee
"No different! Same! Only different in your mind!"
-- "Jedi Master Yoda"
"If you are afraid to be struck, you will be struck. If you are afraid to hit, you will be hit. If you wait to 'see' the moment to attack, you will be attacked. You must feel when the door is open, and no more."
--Master R. Chu
"When the moment comes--'I' do not hit. It hits all by itself."
-- Bruce Lee
"Do. Or do not. There is no 'try'..."
-- "Jedi Master Yoda"
"The highest art is no art. The best form is no form."
-- Bruce Lee
  Although fencing is primarily a sport, with every hit or touch accounted for, and fencers following strict rules of conduct--staged combat is one of the most exciting aspects of swordplay! Movies such as "The Mask of Zorro", "The Count of Monte Cristo", "Robin Hood", "Cyrano De Bergerac", and even George Lucas' "Star Wars" sagas all promote excitement and passion unmatched throughout film history (and books and plays)! ** NEW!! **
Shows I have choreographed include some staged scenes adpated from "The Princess Bride" (including acrobatics and more "intense" fancy swordplay); a school play of "Peter Pan" (Morgan Hill), chronicling the classic and humorous bout between Peter and Captain Hook; a school play of "Cinderella" (San Jose / Santa Clara), a young prince's "training" from crumpet-eating goody-goody to sword-wielding knight... and other credits as well. Completed! : fight choreography for "Snow White and the Seven Little People" for Washington Open School in Santa Clara / San Jose! Completed! : the battles within "Twelfth Night" for Coastal Repertory Theatre in Half Moon Bay! Some basic theory regarding how I conduct staged combat from start to finish include the concepts below. There is much to be said for differing weapons (i.e. battle axes and shields, or bare knuckles and brawling), but for the sake of brevity, we will assume much of this is swordplay! 1. TIME SIGNATURE -- This is my
terminology for the speed at which known (or unknown) choreography is
to be practiced at. The main breakdowns are at 25%, 50%, 75% and
finally 100%. It is important the actors are able to recognize
how to speed up or slow down their actions on command in order to
achieve the desired results, yet with maximum safety.
Additionally, this term refers to having non-predictable "beats" or "moments" between and on which moves or attacks are executed. Bruce Lee would call this "broken rhythm". This is where (for example), you cannot predict every strike of every attacker because the tempo and amount of strikes and movements (should) feel unpredictable, changing constantly. 2. "Z-AXIS" DEPTH ILLUSION
-- Using the audience's viewpoint as a means of
stealing their depth perception whenever and wherever possible. A
basic example is keeping the "fighters" constantly at an angle
(sometimes
nearly 90 degrees--one US,
facing audience, the other DS,
back to
audience) so that any "attack" with any weapon "appears" as though it
could possibly have struck the opponent--but this was an optical
illusion. Proper measure between the "fighters" was always
present--the audience simply could not detect it, as their eyes cannot
physically determine depth from so far away. Doesn't work
as well for theatre-in-the-round or very intimate stages for obvious
reasons.
3. PASSION AND INTENTION -- This is where the actors themselves help to "sell" what is occuring within the staged fight. Why does this fight mean so much to the character? Why are they so involved? Are they in fear, disgust, confidence, anger, playfulness? And in what moments do changes in their mood change the way they fight? Are they exhausted, a drunk, a master, a peasant, cautious for their life or wanting only to eradicate their opponent? These questions must be answered to make the battle more gorgeous and powerful. 4. REACTIVE "MARKING" -- Noise, screaming, yelling, growling and "non-volatile" prop throwing add to this for each actor to feel more "involved". And naturally of course, the audience becomes shocked and startled as each shriek or sound attacks their ears. So, along with the actual "strike" that they see--they also hear! 5. "BLANK" SPACE -- Too much fighting without pauses for "stalking", "menacing" and small but important gesturing, feinting, or "sizing up" moments.... equals lousy combat! Staged combat has structure just as a play does... a beginning, middle, end--stasis, the interuption of that stasis, denouement, intention changes, etc. etc. Brief moments allow the actors--to act. In music theory, one might say it is the blank spaces--not the notes--that give a song its unique flavor, its panache... its life! 6. CREATIVITY AND INGENUITY -- This is where the unique flavor of how I do things comes into play. If there is a prop available, I will use it... if there is a set piece to utilize, I do so... if there is a fun way to surprise the audience... I take that chance. Staircases, chairs, tables, and "100% workable" items or setpieces are a choreographers dream come true...  Sometimes flare, timing and creativity is remembered FAR more than the 25 bladework actions you had two fighters exchange. People will say, "Remember how Tybalt threw water in Romeo's face? That was hilarious!!" rather than sing praises about well-timed disengagements, convincing feints, and things of that nature. Granted, all those elements will still remain. The picture should be clear. The Cutting Edge choreography you witness will be memorable, fun, passionate... and SAFE!
Above--Creativity:
'The Force' is used to strangle an opponent! If you have
interest in scheduling any type of staged combat, please let us
know! Contact
The Cutting Edge today! Protective practice equipment can be made
available along with choreography during rehearsals and showdates.
 If you are a school associate, parent, or employee, and you would like to schedule a 100% FREE demo of how fencing works (where students suit up, and try out a "crash" course in fencing), send TCE an e-mail with your school contact information, or click here for more information! The Cutting Edge is 100% fully insured and certified for liability under the United States Fencing Association. --Matthew Carauddo
(F.F.E. certified fencing
instructor)
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Additional
links or points of interest:
| United States Fencing Association (USFA) |
Learn about the basics of
fencing, find fencing clubs all over the United States, find
information about worldwide tournaments. |
| Coastside Academy of Fencing | Provost Anthony Joslin's introductory and intermediate sabre fencing classes are located in beautiful Half Moon Bay, CA. |
| Sonoma Fencing Academy | A three-weapon fencing academy located in beautiful Petaluma, CA which offers instruction, electrical fencing, and private lessons in all three weapons. Special thanks to Kendall-Jackson winery for their continued support. |
| Vector Theater Conservatory | Vector Theater promotes youth and adults to excel in the arts and grow their skills in acting, music, singing, stage combat, and fencing. |
| Blade Fencing Supply |
A well-known vendor of
fencing gear. Located in New York. |
| Esun Fencing Supply |
A fencing equipment vendor
located abroad. |
| The Bay Cup Website | Events local to our area and divisions (California) are listed here. Visit this site for information on upcoming events in all three weapons. Special thanks to Eric Dew for managing this site. |
| Fencing.net |
A collaborative site which
includes drills, information and other interesting details regarding
many aspects of fencing. |
