Classes for the 25th Anniversary Workshop
are yet to be determined.

Examples of Classes from 2014/15 Workshop

Fighting in the Box: Advanced Film Fighting
Instructor: Bryce Bermingham and Daniel Ford Beavis
Some of the best fights on film are executed in a small space; the kill sequence in the shower from the Bourne movie comes to mind. We’ll outline the fighting space, square up the camera and perform a complete fight of two advanced fighters from one angle. By changing the angle, stacking, using slips, slides, traps and escapes, rapid fire blows, selling reactions and strikes to camera we’ll experience techniques to maximize a position without having to adjust camera – a DP’s dream.

Three May Keep a Secret but Only One Keeps the Treasure
Instructor: Bryce Bermingham, Casey Kaleba and Daniel Levinson
Three different creatures, three different weapons and only one treasure to go around. This light hearted class will explore different weapons pairings, different levels of physicality and focus on physical choices that take a character from good to great. How do we work collaboratively? How do we create a seamless story when we have multiple creators? What to keep and what to cut? Please join us to help build a funny and compelling performance.

Forced to Flee: Smallsword on the Run
Instructor: Bryce Bermingham and Kevin McCudry
Not everyone wants to fight, not everyone wants to kill. A skilled prisoner escapes a determined but less skilled guard. When the parties finally meet neither wants to kill (but will if forced); one wants to escape and the other capture. Incorporating different tactics, skill levels, judo, aikido and a sense of dramatic flair, this class will be a fun challenge to the small sword enthusiast.

When Masters Meet
Instructor: Bryce Bermingham and Simon Fon
Destruction is the only answer. Two martial arts masters are determined to eliminate their enemy from the pages of history. The best fighters pull from a variety of martial arts; relying on their training and instinct, using situational awareness and improvisation to defeat their enemy. This class will execute a martial arts fight drawing a variety of styles, fighting at disadvantages and positions of superiority in a lighting fast and brutal fight to the death where no one will go unscathed. “You must learn an art and then forget it to truly master it.”

Instructor: Bryce Bermingham
Record a fight, cut by cut, action by reaction on a mobile device. I hate it when I can’t see a fight in a film but I’m furious when I can’t understand a fight. Scariest of all, I can see too much of a great fight and it looks slow and boring. We will break down a fight into its component elements, establish your shot list and film it! It is incredibly useful for both your director and your director of photography that you understand the elements in a good fight scene. Help them make their jobs easier and they will love you for it.

Fighting for the Camera
Instructor: David Boushey
Where by students learn the varied technical aspects of fighting for the camera including those issues that arise when confronted with the limitations & advantages that come with the job of stunt coordinator and/or fight arranger.

The Business of the Business
Instructor: David Boushey
Where I focus upon how to make it in the fight/stunt industry as well as the entertainment industry in general including creating your own professional projects that further your ability to make a living in a very competitive industry.

Instructor: Ruth Cooper-Brown
Reaction is everything.
Not for the faint hearted as we will discuss in some detail the injuries, pain and psychology of inflicting pain on others. Then we get our hands dirty exploring the illusions of how to knocking teeth out, eye gouge, removing finger nails, water boarding, the character of the torturer and more.

Magical Mayhem
Instructor: Ruth Cooper-Brown
How to be on the receiving end of the magical arts! Imagine you have just been cast in the next epic fantasy movie. The script demands that you are attacked my all manner of magical devices from wand battles to mind control. Explore how to sell impacts, fights and external control without any physical contact.

Surface Scuffles
Instructor: Ruth Cooper-Brown
Using as many surfaces as we can get our grubby little mitts on, floor, wall, table and stairs, we can add other dimensions to your fight choreography by literally travelling your fight through your environment. Using found structures and obstacles as both hindrances and accomplices.

Instant Heroes vs Monster Battle
Instructor: Ruth Cooper-Brown
A somewhat silly solution to swift mass choreographing. We investigate how to quickly create a battlefield fight through role play, following strict rules of engagement, creature movement and point scoring.

Speak Up! The vocalization of Violence
Instructor: Ruth Cooper-Brown
It very easy to get so wrapped up in our heroic action that we forget to speak or make any noise! We start by discovering the appropriate from the inappropriate sounds to single word moves, pain interjections and full on real rousing monologues.

All Tied Up
Instructor: Ruth Cooper-Brown
Bound fighting, when there is no escape from your attacker what can you do? Playing with both captor verses bound victim, with cool wraps and traps, and what options you have when both parties are bound together.

Monster Moves
Instructor: Ruth Cooper-Brown
Why walk when you can slither? Creature clambering and creating creature conflicts. Discover how a characters’ physicality can affect the fight? Many modern monsters have physically inhibiting or enhancing body forms such as Grendel, Gollum, Richard the III, Werewolves, Vampires and white walkers.

Case of "Rapier"
Instructor: Jacques Cappelle
An ancient Greek battle with glaive and shield for precisely 12 people: Ulysses and his son Telemachus against 10 pretendants in slow motion to music.

Instructor: Jacques Cappelle
Foil technique juggling with compound attacks or ripostes, attacks on the blade and « prises de fer » leading to the final fight sequences from « Scaramouch » and/or « Le Bossu ».

Instructor: Jacques Cappelle
A new Musqueteer salute (of my own composition) with music on a CD support.

Rapier and Dagger
Instructor: Jacques Cappelle
Some very close, furious – but safe – Rapier and Dagger routines with lots of surprising attacks, ripostes and counter ripostes. In one word: FUN!

When to Wave the White Flag
Instructor: Meghan Cooke and Rick Skene
You are working on set and you throw out your back / twist your ankle / tweak your neck. Do you push through and keep going or admit to injury and call a halt to the performance? Especially as a stunt person it’s part of the job to push through some discomfort, after all, that’s why you were hired.
But for anyone involved in performance combat it is always a tough call to decide when bumps, bruises and injury are an acceptable work hazard or time to throw in towel. What injuries do you report to the stunt coordinator and which do you “suck up?”
This class is geared to anyone involved in movement combat, but is especially useful for newbie performers, fight choreographers and instructors. We’ll discuss union rules, general safety standards, liability, (legal and moral,) and use role play to create a check list to help you know when a performer is too injured, or a set is really too dangerous, to continue.

Help for the Walking Wounded
Instructor: Meghan Cooke
Bumps, bruises and tight muscles go with the job, but staying injury-free means the show can go on. Focusing on some of the most common causes of injury and tightness, and using some basic tools such as myofascial release and mobility exercises, this class will teach you how to work out those kinks, decrease recovery time and enhance your muscular elasticity.

Movement Analysis for the Combatant
Instructor: Meghan Cooke
Stunt performers and stage combatants face the unique physical challenge of having to repetitively perform identical, often unilateral, actions. This class will analyze common movements and skills such as lunges, falls and arm extensions, and break them down to their basic biomechanical patterns in order to maximize efficiency and minimize injury.

Combat Nutrition
Instructor: Meghan Cooke
When it comes to healthy eating it seems the rules are always changing. Factor in the need to fuel properly for optimal training and ultimate performance and it can be overwhelming. We will look beyond fad diets and misconceptions and talk about nutrition and eating strategies for snacking, pre-performance, recovery and touring that can be individualized for every performer and production need.

Broadsword, the Dance
Instructor: David "Pop" Doersch
The essence of good fighting is good partnering. “Listening” to your partner with your whole being. Learning to be open to your partner’s needs, and learning to respond to them with matched energy. In this class, Pops brings back a very popular class from many years ago in which participants are taught a challenging choreography with a heavy weapon. They then are taken through a process in which they deconstruct the violence and the heaviness using dance and freeform movement to inform the essential ‘need’ of each moment — reinterpreting the movement through expressive, non-violent choreography. Once weapons are reintroduced to the movement, the fight is transformed.

An Exotic and Quixotic approach to Broadsword and Shield
Instructor: David "Pop" Doersch and Kevin McCudry
Kev McCurdy (Swordmaster: John Carter of Mars; Fight Director, Globe Theatre, London) and Pops Doersch (Casting & Fight/Stunt Training: Marvel Universe Live) have known each other for many years, having met at a Paddy Crean workshop. They quickly realized that their movement styles were extremely compatible and they have long wanted to combine their efforts. In this class they will choreograph an Advanced Broadsword & Shield fight which will use eastern and middle-eastern movement styles to enrich the choreography of this traditionally Western European weapon combination. Should be a lark, come prepared to sweat.

Embody Your Character
Instructor: Troy Faruk
We will explore techniques that will take the skills you have and use them to become the monster or vampire or whatever you are cast as. Some characters require certain body and voice technique to be believable. Others require you to possibly do something you've never done before. Whatever the case may be, this class will provide you with a rehearsal process to quickly attach to your character and achieve your objective.

Living on the Edge: Tactical knife and close quarter edged weapons from the Bourne Identity to Raid II
Instructor: Simon Fon
This class will look at how tactical blade work has evolved in it’s us with military and special forces and has influenced films from around the world. The focus will be on Filipino edged weapon use and will include the KARAMBIT, the traditional feral hooked knife from Indonesia and the Philippines.

The Tipping Point
Instructor: J.P. Fournier
Weight and Balance. Unconsciously all experienced fighters work around and support their partner whether they are a Stunt or Stage combat performer. Identify where we hold weight and how to manipulate it for fight purposes. Learn how to physically and unconsciously control, support and protect your partner for safer fights and shared energy work. Includes close contact work, lifting and clearing battlefield dead.

Boxing: "Fly Like a Butterfly and Sting Like a Bee" from Ali to Mayweather - Focus Mitt Training 101
Instructor: Spencer Humm
Boxing, kickboxing and MMA have brought a resurgence of interest in the sport and art that has a history reaching back to the original Olympics. In this class, we’ll look at the basics of standup striking and footwork, with a concentration on the use focus mitts and gloves for building timing, partnership, speed, accuracy. This class will provide an opportunity for performers and fight directors that have not had formal instruction in boxing to relate to the tradition and sport of boxing as well as an opportunity for experienced sport strikers to explore the opportunities to apply their skill in developing dramatic combat.

Boxing, From Mitts to Moments - Focus Mitt training 102
Instructor: Spencer Humm
In this class, we’ll focus on using the focus mitts drills from the previous session in developing choreography. We’ll explore how the partnership, timing and other skills developed with the mitts translates into unarmed combat for stage and screen.
Basic physical fitness is required, some physical contact will be made.

Musical Journeys - Hero Meets Monster
Instructor: Spencer Humm
Music is e-motion or “energy in motion”. It communicates struggle, triumph, character and story. We’ll explore how music can be a tool for the creative process, enhance the journey of rehearsal and punctuate the experience of performance. We’ll use pieces of music that relate to the archetypes of Heroes and Monsters. If you have personal headphones, bring them to class.

Russian Spec-Ops and Natural Combat - Prevailing Against the Monsters of Fear and Combat Stress
Instructor: Spencer Humm
Before the Iron Curtain fell, the Russian culture had a thriving tradition of martial arts. Today, a piece of that tradition survives in the training of the Russian Speztnaz, the Russian special forces. This class will give you an experience into their unique approach to training for close combat, which includes many exercises and explorations rather than the drilling of specific techniques. We will explore movement, breath, knife work and partnering. This year, we will study what the experiences of pain, stress and fear express themselves in the body and mind, and how some of the world’s best trained warriors deal with those factors. The training style is always relaxed and fun, but the nature of the work is brutal and pragmatic. Basic physical fitness is required, hard physical contact will be made and breathing exercises will be challenging.

Bullwhip Creacking 101, 102
Instructor: Spencer Humm
The art of the bullwhip permeates our dramatic culture. This class will take a look at the roots of the tradition in order to understand how and why whips are used. We'll look at basic to advanced cracking technique, understand the equipment and its care, and explore how to use whips of various styles and lengths. We’ll also look at the opportunities offered by new equipment that’s becoming available. Everyone will get to take a crack at it!

Rapier and dagger Against Howler Monkeys 101, 102
Instructor: Spencer Humm
You’re a sixteenth century gentlemen and you’re alone in a South American jungle where the chief threat to personal safety is Alouatta coibensis trabeata, the Howler Monkey. How will you survive the non-linear entries and primate vocalizations of your foe, armed only with a rapier and dagger? What are their weaknesses? What do they eat? Where do they live? Do you know any of this? No. You’re a sixteenth century gentlemen and without this class, you will assuredly die. This class leverages the major zoological treatises on primate behavior and the literary references to howler monkeys that appear in the works of Marlowe, Moliere, the diaries of John Quincy Adams and Plato’s “Republic".

Aikido & Silat Combined
Instructor: Kristoffer Jorgensen
Two terrific Asian fighting systems, both with a strong weapons influence, crossing between ancient traditions and contemporary application. We will compare their basic form, footwork, responses to various attacks, and finishing techniques respectively, with a special focus on choreography-friendly moves. Kristoffer (aikido/kobudo) and Robinson (silat/kali/escrima) started exchanging ideas and training tips 3 years ago – this course presents some results and realisations from this exchange. We offer this series of lessons as input for both choreographers and performers, as well as for martial artists curious about either of these arts - especially if you are interested in mixing unarmed combat with weapons.

Part 1 – Basics: Form & footwork; distances; context and martial logic; "soft" techniques, such as unbalancing and energy re-direction; "hard" techniques such as strikes, instant locks and breaking techniques. Both unarmed and weapons applications.

Part 2 – Complex actions: responses to various attacks, both unarmed and armed; resistance application, counterstrikes and interception; a "hard" counterstrike followed by a "soft " unbalancing move, followed by a "hard" finish. Or soft-hard-soft etc. Both unarmed and weapons applications. We recommend that you take part 1 and 2 to take this lesson.

Part 3 – Ending it: Takedowns and finishing moves. Both unarmed and weapons applications. Plus merging the two arts. We recommend that you take parts 1 and 2 to take this lesson.

Battle Scenes
Instructor: Kristoffer Jorgensen
Kristoffer has staged numerous battle scenes for films, TV and the stage, sometimes with several hundreds of combatants involved, as well as horses, explosions, catapults… In this double class, we´ll look at building a battle using modules of smaller group fights, movement patterns for big group fights, background action vs foreground action, fight choreography where the combatants also must keep an eye out for principals moving through the action, and more. NB This class requires stage combat proficiency with sword and shield combined; we will not spend time on basic technique.

Viking Shield and Sword
Instructor: Kristoffer Jorgensen
Drawing on research based on a) written sources, mainly the Norwegian and Icelandic sagas, b) archaeological sources, and c) practical experimentation with replicas of Viking weaponry, we have developed this comprehensive system for shield and sword fighting. NB We DON´T claim historical “authenticity”. It´s a pretty neat and well-researced system, though, and is here presented for the first time outside of Norway. This class complients the VIKING LONGAXE class, but can be taken independently.

Viking Longaxe
Instructor: Kristoffer Jorgensen
Through working extensively with the longaxe on stage and for film, and cross-referencing this with written sources, mainly the Norwegian and Icelandic sagas, we have developed this system for longaxe fighting. NB We DON´T claim historical “authenticity”, just inspiration and educated guessing; the system is presented here for the first time outside of Norway. This class compliments the VIKING SHIELD AND SWORD class, but can be taken independently.

"Get Down!" - How to Put Someone on the Floor
Instructor: Kristoffer Jorgensen
Different ways of stealing someone´s balance and take them down. We will explore the weaker mechanical points of the human structure, and how we can take advantage of them by displacement of balance, by leverage and/or pain coersion. This class will begin with breakfalls and how to take care of yourself and your training partner when going to the floor.

Dead Snow 1 & 2
Instructor: Kristoffer Jorgensen
Kristoffer was stunt coordinator and fight choreographer on both “Dead Snow” and “Dead Snow 2”, modest-budget zombie films that went on to become international hits. We´ll take you through some of the fights from both films and discuss choices made and reasons for why the fights turned out the way they did.

Scylla & Charibdis: Environmental Sword
Instructor: Casey Kaleba
Alley fights, back room bar brawls, fighting up castle steps…many directors and designers will try to be helpful and offer the fight director a bare stage on which to work – this class assumes that more interesting action and emotion can come from exploring space and creating difficult problems to solve. Inspired by a conversation at the 1997 Paddy Crean in Stratford, we’ll start with a relatively simple piece of sword choreography and then put you between your opponent and difficult geography to see what happens when the going gets tough. This is a continuation of my exploration of the role of space in performance, and the opportunity that sits inside of challenge.

Penthesilea & Ajax: Shiled and Spear
Instructor: Casey Kaleba
On the day after the death of Hector, the Amazon Penthesilea arrived in Troy to fight the Greeks, including mighty Ajax. Taking this mythic confrontation as our starting point, this class will explore the possibilities and problems of mismatched weapons – in this case, spear vs. shield. One of the lurking problems a performance and choreographer face is that audiences have seen many sword and fights, and they often seem to watch our work through the memory of every other sword fight they have ever seen. In order to tell the story and inspire the emotional reaction we are looking for as fight directors, we may need to dip deeper into myth and history for creative solutions – this class will explore one possibility.

Death from Above: Rapier and Dagger
Instructor: Casey Kaleba
This Rapier and Dagger class revisits and remixes some footwork favorites with a new eye to put a little athleticism and crackle into the action and take our fights airborne. We'll look at the stage and screen performance possibilities of patinando, ballestra, a jete and arabesque or two, some advanced lunges, and ways to rethink these techniques in both large and small spaces. Some experience with blades and balance required.

Fight Gone Bad: Broadsword and Knife
Instructor: Casey Kaleba
The narrative of most stage and film fights is simple and clear: two opponents, similarly armed, meet and fight. But that’s rarely the whole story – the fighters often lose because the story requires them to, rather than because they have exhausted their skill, tools, or desire for life. This class is based in my choreographic philosophy that every situation can become worse. We’ll start with two knights and in a single fight work our way from full arms to close quarter knife to unarmed combat and see what happens when two fighters are pushed into the most extreme survival mode.

Three May Keep a Secret but Only One Keeps the Treasure
Instructor: Casey Kaleba, Daniel Levinson and Bryce Bermingham
Three different creatures, three different weapons and only one treasure to go around. This light hearted class will explore different weapons pairings, different levels of physicality and focus on physical choices that take a character from good to great. Too often we fall back on fighting within our own body, here we will place physical and skill restraints or augmentations while still striving towards our goal.

Skill, Luck or what the #@!?
Instructor: Jared Kirby and Rick Sordelet
Many plays, like Romeo & Juliet and Zastrozzi, call for choreographing a skilled swordsman vs an inexperienced one. Through an exploration of character choice we’ll build a fight that examines how to make an audience believe that an inexperienced fighter could win. So plan to be Julia, a young virgin; Matilda, a seductress; Zastrozzi, a mastermind; Victor, the protector; the fiery Tybalt or the enraged Romeo!

Silver Screen Swashbuckling
Instructor: Jared Kirby and Allen Suddeth
In the early days of film, sword fights were based on fencing. In this class students will get a crash course in Italian sabre before learning some standard patterns used in the glory days of film. These patterns will be put together to create choreography so you'll be swashing you buckle in no time!

Flexibility in Film Fighting
Instructor: Jared Kirby and Rick Skene
“What do you mean the Knife Fight is now a Sword Fight?” Rarely when you walk on set will you be performing what you have rehearsed for the last 2 months (or more realistically the last 2 hours). Not only do you need to be flexible in changing the choreo immediately but sometime even the weapons you are using. In this class we will learn a complex knife fight and rehearse it up to speed. Once we have that locked in the instructors will show you how to turn that into a Sword fight instead.

Found Weapons Made Easy
Instructor: Jared Kirby and Kevin McCurdy
The class will focus on the basic martial theory of cuts, thrusts and defenses with a weapon. By understanding the fundamental principles behind these actions you will learn how the same principles apply to a variety of found weapons (i.e. a pen, rolled up newspaper, keys, etc). Participants will then choreograph and rehearse short scenes so make sure to bring a few items that you would like to fight with!

Killing, Death & Consequences
Instructor: Jared Kirby
Contrary to what we see in many films these days, to take another’s life always has a cost and consequences. This acting focused seminar will look at the physical, psychological and emotional responses to killing and dying. This is an uncomfortable subject, but it is imperative to acting violence well. As Rocco Dal Vera said in “The Voice in Violence:” Just as real warriors perform an essential though anguishing service for society, actors also serve as courageous soldiers of the psyche. When we dig deep into the dark underbelly of the human ego and express our shadow selves truthfully in performance, we are helping the audience process that side of their natures, too. Society needs its stories in order to understand itself, and since drama is centered around conflict, violence lies at the heart of many great plays. Human beings kill. We make war. We rape, pillage, torture, and terrify. We can be brutal and animalistic. We even have the capacity to take joy in and revel in these horrors.

Killing, Death & Consequences
Instructor: Jared Kirby
This class will focus on how to transfer the fencing techniques of French Small-sword to the stage or screen. We will begin on the subtle manipulations of the sword and the precise footwork required to begin small-sword. This will move into fundamental drills that can be utilized to create choreography.

Female Viking Warriors
Instructor: Michelle Ladd and Bo Thomas
Come learn fight techniques of the Vikings and explore the special role of women in Nordic warfare - both historical figures and mythical figures like the Shield Maidens and Valkyries.

Fight Like a Girl!
Instructor: Michelle Ladd and Bo Thomas
Women throughout history have been both heroine and villain as combatants, as spies, and as assassins. And their legends have inspired Hollywood as producers create their own femme fatales. But it’s not enough for these brave women to accomplish each mission – often they have to do it in skirts and heels. This class takes a handful of these historic heroines, traitors, and their Hollywood counterparts and delves into recreating their combative worlds and unique performance challenges. Bring skirts and heels!

How to Win Every Fight, Every Time (Combat Theory)
Instructor: John 'Doc' Lennox
This class will explore all the elements of the fight- attacks, defences, Time, Distance and Proportion and break them down into their basic elements. Students will learn how to deal with any type of incoming attack from unarmed to longsword and every weapon in between.

You've Made Poor Life Choices - Groundfighting Tactics
Instructor: John 'Doc' Lennox and Kyle Rowling
This class will deal with fighting once it has gone to the ground. It can be a dangerous place to be, but if you learn how to deal with it, it is just as easy as fighting on your feet. We will explore reversals, takedowns, pivoting, strikes and locks.

Fight Like and Animal - Animal Totem Styles of Inco Combat
Instructor: John 'Doc' Lennox
This class will be an introduction to Rumi Maki, the Inca style of combat. It will encompass the Golpes Libres- free strikes (hands) and the kicks. Time permitting we may get into the grappling.

Conch the Villian on the Head - Boxing with the Mayans...with Conch Shells for Gloves
Instructor: John 'Doc' Lennox
The Mayans have some artwork showing boxers who used conch shells for gloves. This was too awesome not to bring to Paddy. This will be reconstructed from research into their combat styles and augmented with the more documented Inca style where research into the Mayan styles becomes non-existent. Most combat styles of the Aztecs, Mayans and Inca we are finding are quite similar in many respects.

Finding the Monster in the Fight
Instructor: Daniel Levinson
This workshop would explore the emotion development of the character in a scene composed of a one on one fight or duel. We would focus on showing the dark aspect of violence and show how a character, through cruelty, anger, and spite becomes a monster through violence. This will be done by the choices made by the character that extends the fight for emotional reasons to punish and hurt the other rather than the more logical bringing a fight to an efficient end.

Following the Heroes in a Group Fight
Instructor: Daniel Levinson
This workshop will focus on the fine balance of following two heroes through a group fight as well as keeping those fighters not directly in the violence alive in the scene. This course is intended for both performers and choreographers who want a better understanding of simultaneously building the big picture and fine details.

Finding the Narration for the Character in a Sword Fight
Instructor: Daniel Levinson
This class will help the participants understand building a through line for the performer so they tell a clear compelling story in a sword fight. This is a great class for actors who find it difficult to retain choreography when they are give technique rather than strong acting choices by their fight director. We will also work on how to be the hero of your fight.

Finding the Narration for the Character in an Unarmed Fight
Instructor: Daniel Levinson
This class will help the participants understand building a through line for the performer so they tell a clear compelling story in a sword fight. This is a great class for actors who find it difficult to retain choreography when they are give technique rather than strong acting choices by their fight director. We will also work on how to be the hero of your fight.

Creating & Breaking Patterns in Training for Sparring: Developing Muscle Memory
Instructor: Roberto Martinez Loyo
Often, during training sessions, we become used to attacking and defending on predetermined patterns. This class will give participants skills to develop ‘Kata’ like drills following the ‘natural and logical flow’ of attacks, blocks, parries and counters.

Meyer's Derivative Cuts
Instructor: Roberto Martinez Loyo
In the German Longsword Tradition of Liechtenauer, we have five master cuts (Oberhauw, Zornhauw, Zwerch, Krumphauw, Schielhauw). This workshop will focus on a review of these five master cuts –not because whoever can properly execute these cuts is considered a master but because they are the basic cuts any master and combatant must know- to then move on to the different cuts that are derived from these five primary cuts.

Instructor: Roberto Martinez Loyo
The staff or just a strong stick is, along with the rock, the oldest weapon. Used since the Stone Age, it has persisted until the 20th century. In previous centuries, it was a common weapon for self defense and an important part of several masters of arms’ curriculae during the Middle Ages and Renaissance. The quarterstaff has been represented in several of the most important manuals, being a strong portion of such masters like Dobringer, Fiore Dei Liberi, Marozzo, Paulus Hector Meier, Egenolph, Meyer, Silver, Sutor, Swetnam and Wylde. The class will focus on the basics of the staff, particularly footwork, grip, guards and strikes, to follow up with various exercises on attacking, defending and counterattacking. The class will draw from various masters like Chsitian Egenolph, George Silver, Joseph Swetnam and Joachim Meyer.

Meyer's Rapier
Instructor: Roberto Martinez Loyo
Joaquim Meyer descives and explains in his Art of Combat fightbook several weapons, encompassing Longsword, Dusack, Polearms, Dagger and Rapier. The class will center on Joaquim Meyer’s rapier treatise as in introductory class into the German rapier system.

Coaching Workshop
Instructor: Roberto Martinez Loyo
Several times, during tournaments, we choose to support our club mates, by “assisting” in their corner, however coaching goes beyond ‘cheering’ our mates on, it involves being able to assess the combat conditions to help as an extra pair of eyes for our fighting mate, help him/her with their gear and supporting him/her to try to get a win. This workshop will help develop the attendees as better coaches and through this as better.

Reality vs. Stage Combat
Instructor: Kevin McCurdy
Can these two realities combine? Can exploring the “reality trigger points” gel with the techniques of Stage Combat to make a “dangerous looking fight? My system is fun, challenging and gets you thinking and moving outside of the box. We’ll be looking at natural body response techniques, (BRT) and natural defence techniques (NDT), the use of ‘territory’, ‘playing pain’, as well as psychology and physiology to build up to, what I call, “1st contact”, to create a ‘lethal looking fight’ between an “animalistic moving human” and a “normal human”, (well, this is “Heroes Vs Monsters”). We’ll be fighting standing up as well as on the floor. I enjoy contact so a lot of contact will be involved, (bring knee and elbow pads). It’s a system that I’ve cultivated over my 25 years of training and I use this when I’m teaching my students in drama college and also when I’m choreographing professionally. This can be put to any weapon system so please, come and join me on my ever-growing fun journey. As Morpheus says, “free your mind!”

Going to Ground!
Instructor: Kevin McCurdy
All fights hit the ground at one stage or another. Fact. It's a place where you really don't want to be, (unless you're adept in the ground fighting arts). It's messy, nasty, no rules. We're going to be looking at how 'fighting dirty on the ground' can translate to the audience by looking at basic techniques of Judo, BJJ, MMA and mixing in 'bites', 'gouging', 'ground and pound', to name a few. Fun and sweaty times to be had on the floor.

Instructor: Kevin McCurdy
'Fast!' 'Lethal!' 'Beautiful!' 'Brutal!' (But enough about me). Knife fighting has been around for ever!! It's forever changing. Come with me on a fun journey of exploration of this exhilarating, devastating, weapon system where you can get hit anywhere at any time. (I apologise now if you have a weak stomach because I talk anatomy and damage when I'm working with this system).

Instructor: Kevin McCurdy
When to 'knap' and when not to 'knap', that is the question! Come and join me for a good old punch, slap and kick session where we'll explore angles, rhythms and 'body camouflage' to breathe new life into using 'knaps in a stage combat routine.

So You Think You Can Fly - Intro to Wire Work
Instructor: Jeff 'Ish' McKracken
The Matrix and Crouching Tiger, Hidden Dragon have made wire work a staple of action films. In this class students will be harnessed into a simple flying rig and taught the basics of performing on wire. Learn about harnesses, jumping, flipping, spinning, and pendulum swings. Students will also act as pullers for the rig, as the success of a wire stunt relies just as much on the pull team as it does the performer. Students are encouraged to wear close fitting garments for the harnesses.

Enhancing Reality on Wire
Instructor: Jeff 'Ish' McKracken
Every year audiences demand bigger and better action from films, regardless of the laws of physics. This class will explore several ways to use wire work to enhance movement for dramatic effect. Students will participate in the performance and execution of different wire elements in action scenarios, so be prepared to fight, fly, flip, and fall down (onto pads, of course!).

Introduction to Rigging for Stunts
Instructor: Jeff 'Ish' McKracken
Flying performers is one of the most dangerous aspects in the entertainment industry and every year there are accidents that attest to this. While this class cannot provide you with enough information and experience to be a rigger, it will examine some of the basics of safe rigging practices as they apply to stunt work so that you, the performer, have a better sense of what a safe rig should look like and how it works. Information about the type of equipment used, how systems are engineered, and the forces involved will be discussed.

Slow is Smooth - Smooth is Fast - Basic Tactical Weapons Handling and Movement. Part One.
Instructor: Thomas Potter
You know that the monster/vampire/werewolf/eldritch horror is in the building/lair/warehouse/cabin and you have your weapons loaded, but how do you get into the building? This class will cover how to properly hold, handle and move with a weapon, how to approach an entry point, and how to enter a structure with a small tactical team. We’ll also clear up whether a clip goes in your weapon or hair and whether you read or load a magazine.

Slow is Smooth - Smooth is Fast - Tactical Weapons Handling and Movement. Part Two.
Instructor: Thomas Potter
Note: You must have completed Part One, or have permission from the instructor, in order to participate in this class.
So you made it through the door and your team is still alive and intact! But now you have to start clearing the rooms. Maybe you can hear the slobbering, dripping, oozing monster in the building or worse, maybe you can’t hear anything at all! We will start with small 4 person teams and get bigger and faster. You will learn things like “the fatal funnel” and how to deal with losing team members along the way.

Slow is Smooth - Smooth is Fast - Tactical Weapons Handling and Movement. Part Three.
Instructor: Thomas Potter
Note: You must have completed Part One and Two, or have permission from the instructor, in order to participate in this class.
You have made it into the first room with your team intact and your magazine is full of magic/silver/wood fibre/photon projectiles, but no beastie! Now we have to get out the door, down the hallway, up and down stairs and into all the other rooms. How hard could it be? This class will cover how to move down a hallway, negotiate corners, deal with stairs, stay off the walls and enter several rooms with one, or several, teams.

How to Make Your Tac Team Look Real on Film
Instructor: Thomas Potter
People love their action films, but when the tens of millions of men and women who have spent significant time in uniform and under arms see something grossly inaccurate on screen they switch off. Realistic tactical movement can be hard to shoot, but with a few principles in mind you can maximize the effectiveness of your Tac Team on film and sell the action with some great shots. This class is geared towards indie film makers, beginner stunt and fight coordinators, and choreographers. Bring a camera, your creativity and remember, "NO CHARLIES ANGELS POSES EVER!!!!"

Abandon & Flow
Instructor: Ian Rose
A class focusing on learning to really let go and fly in a fight. The class starts with learning simple choreography, building confidence and learning how to ride that edge of safety and control in a stage fight.

Rapier & Cloak
Instructor: Ian Rose
A class focusing on learning to use the cloak in conjunction with the Rapire. The various forms of cloak are taught and then put to practice class through simple choreography.

Liancourt Smallsword Exercise
Instructor: Ian Rose
Liancourt, the Bruce Lee of Smallsword, created a series of exercises to incorporate ingrained responses in order to become a more accomplished swordsperson. We will learn one of these formalized practices. If there is time then the participants will use the techniques taught in choreography.

Advance Stunt Fighting for Film
Instructor: Rick Skene
The class will explore the advanced techniques that arise after the basic concept of throwing and receiving a film punch or kick have been learned. The class will focus on the stunt performer skills of catching, blocking and ducking etc. as well as partnering for throws and teardowns. Techniques will be taught on gym mats with an eye toward perfecting them for hard surfaces. Most techniques can of course be applied to stage combat choreography as well. Where the actor skill exists they can be used to great effect.

Stunt Fighting: Essential Licks
Instructor: Rick Skene
A sampling of some of the disarms, blocks, locks, and reverses that are the bread and butter of film fighters will be explored. Techniques will run the gamut from the simple and essential to the flashy and useless. Most techniques can of course be applied to stage combat choreography as well as film. This class is open to all - beginner and intermediate students welcome.

Air and Space - Choreographer's Master Class
Instructor: Rick Skene and Casey Kaleba
Under the mentoring of the instructors, participants will take turns, with their classmates as actor combatants, to choreograph their own short fight sequences for stage or film. Using these sequences as our laboratory, we will explore the techniques, break apart and discuss the problems, issues and processes of the stage or film fight choreographer. This class is open to all working or aspiring combat choreographers, with an emphasis on developing your own voice and toolkit as a fight director.

Rolling and Falling with Swords
Instructor: Rick Skene and Adrian Young
The class will explore the various techniques of rolling and falling with an edged weapon. Partnering/teardowns with an edged weapon will also be explored.

Patrick Crean's Hamlet Choreography
Instructor: J. Allen Suddeth
The goal of these classes is to recreate, from Paddy's original fight notation, his work from a production of Hamlet, at the Stratford Shakespeare Festival in the 1960's. I have in my possession a copy of this notation, given to me by Paddy himself. The class will consist of interpreting, and staging this interesting and complicated bit of stage combat history. What better way to celebrate this legendary fight director, at a workshop named in his honor?.

Performance Capture
Instructor: Carrie Thiel
Our world is changing and so is how we film it. Today actors are being challenged to perform in stark and unnatural settings, with no sets, no costumes and often no other actors to play off of... Motion Capture (MoCap) is being used on a regular basis these days, so get familiar with this popular platform of work and be ready for the show which is laden with digital effects!
The VFX realm of film, television and video games presents unique nuances and challenges. This course will give a broad overview of this genre and cover skills, demands and physical elements needed for performance (motion) capture. Experience another side of performing action, get a taste of a Motion Capture set up and see your performance mapped onto a digital puppet. There is little training for MoCap available out there… So don’t miss this opportunity in Banff!

Introduction to Performance Capture
Instructor: Carrie Thiel, Michelle Ladd and Daniel Maendel
Learn about the various types of motion capture and how motion capture is used in film, television and video games. This session will be part lecture and Q&A, and part practical/physical.

Intermediate Performance Capture 1
Instructor: Michelle Ladd and Daniel Maendel
This session will explore the inner workings of a “combat agent” used for video games and large battle scenes in film. The student will have completed the introduction, or have had some previous exposure to motion capture.

Intermediate Performance Capture 2
Instructor: Carrie Thiel, Simon Fon and Daniel Maendel
This session will explore a “shot specific” scenario involving a fight scene between two people, and explore the challenges that this presents. The student will have completed the introduction, or have had some previous exposure to motion capture.

Advanced Performance Capture 1, 2 & 3
Instructor: Carrie Thiel, Michelle Ladd, Simon Fon and Daniel Maendel
Now is the time to don the lycra suit, and see yourself mapped onto a digital puppet.

Heroes and Monsters
Instructor: Carrie Thiel and David "Pops" Doersch
We have lately seen a rise in productions using human actors playing animals, creatures and superheroes. These Hero and Monster characters have varying degrees of humanness, non-human or super-human qualities, as seen in the various “Marvel" movies, as well as films like “Avatar”, “Rise of the Planet of the Apes," “Narnia”, “Percy Jackson”, to name a few. The demands on the performer to create interesting, dynamic movement choices with these expanded physical boundaries can be daunting. Come explore these elements in a physical and fun class, and add another fascinating layer to your performances. Carrie Thiel has spent years creating monsters, creatures and animals through MoCap, while David “Pops” Doersch works with superheroes on Marvel Universe Live! ***Note: this class will not feature MoCap technology, but is a movement class with choreography.***

More Than One Opponent
Instructor: Bo Thomas
Usually when we do fights it´s one on one , in this class we will explore the different challenges when you are fighting 2 on 1, 3 on 1, 4 on 1, or just plain mix it up like everybody is fighting everybody at the same time or not!!

Fights in Small Spaces
Instructor: Bo Thomas
This class will take you into the challenges of fighting, when you have to consider at the props on stage when you are doing theatre but what about sword fights in narrow hallways up and down stairs, fights in elevators or when you have to think about the camera angels or the framing of the fights (what can and can´t you get away with).

Fight To/With Music
Instructor: Bo Thomas
Music can add to your fight, like background music I ballets you have to choreograph moves to certain music cue´s in this class we are going to take some well known film theme music and see how it will change the mood of your fight and or the mood of your character, in films the music score is always but on in the end but in shows/ ballet and opera you need to have the fight finish when the music stop be ready to dance / strut your stuff break out your inner tango dancer.

The Virtruvian Actor
Instructor: Scott Witt
Inspired by the concept of The Virtruvian Man and the words of Shakespeare

“He fights as you sing pricksong: keeps time, distance, and proportion.”
(Romeo & Juliet: Act 2 scene 4)

"... For if a man can be placed flat on his back, with his hands and feet extended, and a pair of compasses centered at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described there from. And just as the human body yields a circular outline, so too a square figure may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of plane surfaces which are completely square..."
(Marcus Vitruvius, De Architectura, Book III, Chapter 1, p 3)

Amongst peers we take our understanding of time, distance and proportion for granted. However many actors still fail to truly represent it in a dramatic (or comedic) form. During this class I shall share with you various experiments and ideas I have been playing with to help actors gain greater insight to – Time, Distance & Proportion!

Fighting to Lose
Instructor: Scott Witt
I am curious to explore how actors who are physically coordinated can play uncoordinated characters, just as much as I am for uncoordinated actors to portray coordinated characters! Fight to Lose is a counter intuitive look at how not to fight! This class is designed to deconstruct and analyse the structure and alignment required by the skeletal and muscular systems when developing physical attributes for in effectual combatant.

Enter the Ladder: A Reflective Look at the Dangerous Art of Slapstick
Instructor: Scott Witt
One of the more dangerous and unpredictable props in the art of slapstick and clowning is the ladder. I will share a few interpretations of how to interact with this monster and how to get some good gags out of it with out too much pain!

My Gun
Instructor: Adrian Young
Disarms and gun control techniques for stage and film. Starting with learning real gun control and disarm techniques this class moves to adapting them into scenario application and then choreography. Think James bond vs Jason Born with one gun at play. Winner gets their man.

Save It/Break It
Instructor: Adrian Young
Low budget or big budget, Theatre or Film, when you need to fight in, on, and around the furniture there is always a need to use it as part of your fight. This class gives physical techniques as well as structural construction information necessary to make the choice to save the pieces you are working with or destroy them magnanimously.