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As a fight choreographer it is my responsibility to sit down with the director and discover her/his vision for the production. Similarly, actors need to serve the script and work with the choreographer in connecting the action to the playwright’s words. Each preceding article, relating to the exploration of the skills proficiency tests (SPTs), has offered tools for connecting the scripts, stories, and characters with the language of the choreography. We are now ready to move deeper into directly linking fight choreography with the script and vice versa.

Some actors see pre-planning objectives for a scene and rehearsal as an important component to the creative process. Other performers prefer to approach rehearsals with little or no planning because they prefer not to be tied down to a single idea. A compromise for these two valid approaches is to consider options for the scene and write down plans in “pencil” (instead of pen or permanent ink). This will provide opportunity for change in the rehearsal process. The first step is to take the written word of the script and place it next to the fight choreography.


Copyright © 2010 Society of American Fight Directors. Reprinted with permission. All rights reserved.

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