stage combat

The 2019 Denver PCC, Starring ME!

If you were wondering whether to go to Denver Comic Con (now called Denver Pop Culture Con) this year, wonder no more! Why? Because I will be presenting four (4!) different times throughout the weekend (plus one small intellectual lightning round)–all different fascinating topics, all of which you do NOT want to miss. Here are the deets:

Friday, May 31:

Noon pm, room 603: Problematic Badass Female Tropes

I’ll be running down all 7 of my Problematic Badass Female Tropes that you’ve read on Writers’ HQ and have listened to me and Friend Jason blab about on the Outrider Podcast. Come listen and ask me questions afterwards. And buy me a DPCC beer and rail with me against the patriarchy.

Saturday, June 1:

Noon pm: Light Speed Academia (Room TBA)

I’ll have 5 minutes to expostulate and lecture in depth on a topic of my choice. Not sure what I’m picking yet–come see and be surprised and intellectually stimulated by me and my fellow nerdy academics.

3:30 pm: Three Rules For Protagonists (Room 504)

I did this very talk last summer, to a surprisingly packed audience. This talk goes over the Monomyth and the Three Rules (or questions) For Actors, and discuss not only how the two systems are intimately related, but also how they’re an easy and foolproof formula for powerful storytelling.

–I’m going to Goth Prom with the SO that night, so I will not likely be available for socializing after, but will be hightailing it to go get gussied up.–

Sunday, June 2:

3pm: Pop Culture Portrayals Of Trauma, Care, and Survival (Room 507)

I will be chairing this panel, as well as presenting my own section called “Sex and/or Violence,” in which I will talk about my work in Stage Combat and intimacy coordination for stage.

4:30 pm: The Fight is the Story (Room 601)

This is a presentation I’ve done almost every single year since this event has existed. In it, I discuss the necessity for fight scenes to be an essential part of the story they appear in. I discuss the Three Rules For Actors, and I also dissect, Ebert-like, a few different good and not so good examples of fight scenes.

Put these down on your schedule for that weekend, and I hope to see you all there! Now I gotta go edit some slides….

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Tiamat the Destroyer

Tiamat is a dragon that’s from mythology so old she’s not really a dragon, but more of a slimy worm/reptile thing, very much like Grendel’s mother. A female, lizard-like, spawner of monsters. Her element is sludge and she will lick your ass, whether your name is Beowulf or Ahura Mazda. [edit: autocorrect changed “kick” to “lick” in that above sentence, and I have decided I will allow it.]

Of course, as anyone who knows anything about both things is well aware, when Gygax & crew constructed the elaborate role playing game known as Dungeons & Dragons in the ‘70s, t/he/y scooped up all kinds of creatures both to play as and to encounter, from ancient mythology and what I call Old Story. (And yes, of course Tolkien’s classic peoples of Elves, Dwarves, Men, and Halflings. And wizards. But where do you think the Good Don got them in the first place? Hm? Don’t @ me…)

Of course any game w dragons in the title needs must have plenty of them flying around in its world, and boy does it: Tiamat is one of the biggest baddies one can encounter in D&D. Her sex is the only thing she keeps from her ancient squidgy origins: a five headed dragon in the game, each of her heads is a different color and spews a different element, as though she’s five chromatic dragons in one. Which of course she is, kinda.

In popular play She Kills Monsters, Tiamat does indeed have five heads, but in this case it’s (SPOILERS: skip to the next paragraph if you don’t want SPOILERS) the embodiment of the five adventurers our protagonist has been journeying with.

The final fight is described by the playwright as “the most incredible fight scene in history ever to be put on a stage.” No pressure. But my work on this show over at RRCC culminates not as much with my choreography, but with an immense, phenomenal animatronic behemoth conceived & constructed by the college’s robotics department. Only two and a half of the heads, plus two wings, were complete when I trekked down there yesterday afternoon but boy did it look spectacular nonetheless. I tweaked the choreography and guided the girl who’d be fighting the thing, reassuring her the while that her assessment was correct: the audience would be looking at it, not really at her very much at all. So in this case the most epic dragon battle supposed-to-be ever is more about the machinery than the dance, and that’s just fine. It’s all art. Gorgeous art, at that.

I had a slight tangent planned about Game of Thrones and my history of watching it, not watching it, wanting to read the books and not bothering, etc. in the wake of the beginning of the end apparently broadcasting Sunday night, but ehhhh. Boobs and dragons are both things I enjoy, but wars of the roses meets soft core porn I’m just not willing to waste my all too short mortality on. I’ll get the best fight scenes shared with me, put in my two gold pieces’ worth, and that’ll be plenty. And my nerd cred remains intact, thankyouverymuchindeed…

There are a few more potent (and older) dragons I’d rather revisit. LeGuin’s intimidating dragons of Earthsea, Tolkien’s Smaug, and of course The Pearl Poet’s Mom o’ Grendel. Whoever s/t/he/y was/ere.

🐲🐉

No Rest For the Wicked

Holy schnikies, lovely lurkers, am I about to be busy as a whole hive of bees with spectacular gigs aplenty! I mean, wow. I haven’t written anything here in quite some time, so I am going to do two things for you, to make you happy and ameliorate my wretched posting frequency here. The first thing I’m going to do is to start posting here some of the more interesting and apropos musings from my blogs under my pen name. That should be a fun way to get more of my memoir-style writing out there, much to my immense discomfort. I’d love your feedback on any of those, too, lovely lurkers, so I can continue to improve in a writing style/genre I’m unfamiliar with.

The other thing I’m going to do is go down the list of stuff that’s up and coming with me, so you can be amazed and also come to see some of this stuff if you are or will be local. So. Ahem. Here goes (in a somewhat though not totally accurate chronological order):

  • BLUE DIME CABARET has a one-year anniversary show coming up on April 5th (wow, can you believe it’s been a whole year since we’ve been doing this? Wut), which consists of some of the best acts we’ve had the pleasure to include in shows from the past 12 months. We also have dates for new shows set for June, August, October, and January, so we’ll continue to be a regular font of fun for Boulder peeps for the rest of the year and beyond. Find the dime pieces on our website or on Facebook (where we’re most active).
  • I am just next week finishing up the insane pile of battles and dances and dance battles for Red Rocks Community College‘s production of She Kills Monsters. This is a very fight heavy show and I also did the dance choreography for it, so it’ll have my marks all over the stage. That goes up in late April. Directly afterwards, I’ll be helping with a brief fight scene at another college, MSU Denv
  • vrosepromo4.5er this time–they’re doing Machinal this Spring and want help with a slap in the round (which ain’t easy. But I’m on it). Then in September I’ll be back at RRCC for their production of Macbeth.
  • Speaking of stage combat, an ex of mine is directing an all-female production of Richard III this summer, and I’m on board to do the fights for that exciting sounding project. I admit, I am considering auditioning (I mean, how often will I get the chance to play dream role Richard III??) but you’ve heard me lament about the time suck that all live theatre is, and I don’t know if I want to subject myself to that. So there’s that.
  • Before that, though, I’ll be cheerfully sharing my Your Body Tells Your Story workshop with the fine folks attending Boulder Startup Week. I’m very much looking forward to helping Boulder’s finest businesspeople find their most effective presentational personas, for anything they need to pitch or present. That will take place during finals week, in mid-May.
  • Then in the last weekend of May/first weekend of June, I’m frickin
  • g STARRING in Denver Pop Culture Con (formerly Denver Comic Con)!! Think I’m exaggerating? Well I’m actually not. Page 23, the academic branch of DPCC, is having me talk about Intimacy Coordination in my talk called “Sex and/or Violence.” Then! DPCC proper is having me present THREE different things!!! They’re bringing back “The Fight is the Story,” and “Three Rules For Protagonists.” And this time, they’re having me present on the Problematic Badass Female Tropes as well. Can you believe this craziness? Four presentations! FOUR.
  • Oh, and I’m going to Goth Prom again with the SO. That’s right in the thick of DPCC, so that’ll be quite the exciting weekend for me.
  • Finally, I caved and am yet again traipsing to Longmont to teach stage combat to the kid bunheads at the Longmont Dance Academy. I’ve been doing this for a few years now, and though they drain the very life out of me, they also adore me. And, yeah, the feeling is mutual.

Other than that? The current semester ends mid-May and the summer one begins in June. I visited New York City for the first time last week. I’ve finally gotten the paperwork filed and started for the divorce that’s been percolating for a couple years now (guuhhh that’s a long time coming but thank goodness it’s finally in the actual

process), and I may be starting at Community College of Denver this Fall as an English Prof.

We shall see.

Holy good goddamn that’s a lot. I mean, I knew it was a lot before

but now I’ve written it all down? Sheeeeeeez.

Don’t applaud, just send wine.

And coffee. Lots of coffee.

Ringing in the New Year

Sheesh, lovely lurkers. I need to take a moment and list my stuff coming up in the new year. I just wrote about New Year’s resolutions under my own name on my other, memoir-y blog, and it made me need to come here and share with you all the amazing shit that’s on deck, in the hole, and whatever other baseball or double-entendres you like.

Buckle up.

School: Regis’ next 8-week session starts mid-month. Those are all one-on-one grad students in all kinds of subjects, you’ll recall. So far, I’ve got a student who’ll be learning about Editing Non-Fiction.

Metro starts soon after. I’ve got an online section of Theatre History and Crit II, which should be great once I revamp and update it. I also have a Stage Movement class assigned to me, but as there’s only 8 students enrolled so far, that might not actually go. Good news is, the department chair is going to go into battle w the dean on my (well, its) behalf, and it is a required course, so I am allowing myself a modicum of hope.

It would not be a good thing for that one to be canceled, for more than one reason, not the least of which is: this is my specialty and I’d like to have something to show non-academics in that area. Also that I don’t know what’s up with DU; if they’re planning on ghosting me too or not. I have to function as though they are. Pray for me.

Writing: I’m slated to write the next series of Problematic Tropes articles over at Writers’ HQ, so stay tuned. If I can get disciplined, and get help from the SO, I’ll be putting forth one per month starting in January. So stay tuned there.

Performance: I’m doing lots of Blue Dime Cabaret, and a big fight direction project, all of which start in January.

Blue Dime Cabaret has three performances in January (starting on the 11th) over at Dangerous Theatre, and one at Full Cycle on February 16th. I’ll be performing on the 18th, and no idea what’s going on on the 16th, since we haven’t curated that one yet.

Somehow, most of the images of my emcee stint at Blue Dime at our December show depict me drinking beer. Yeah, I’ll allow it.

I’m choreographing and fight directing for D&D based play She Kills Monsters over at Red Rocks Community College. This play not only has, like, one fight per page, but it’s all fantasy styled, which should be super fun. I hear the director has cast a bunch of extra monsters, too, so that should be a blast. Plus, I’m getting paid a full semester’s worth of community college faculty salary for this project, which will be a huge help.

Career Shift: I need to read Ibarra’s book Working Identity again, as it is a rough patch in this area at the moment. I keep applying for multiple random things in the realm of content creation and such. More importantly though: I am doing my best to push my body language consultation / seminars, etc. to the hilt. This is what I’m needing to do next, and I know there’s need and demand out there; I just need to find it and bring it to the right places.

Hm, that’s a lot of “need” in one short paragraph. Welp. It’s apropos of the topic, so I’m leaving them.

Oh, and I applied to Denver Comic Con (sorry: Pop Culture Con) and Page 23, too, so let’s hope I’ll be presenting there again this summer the way I have for many years now.

Also? Pray for Pirates. I’ll explain later, just do. That’d be very cool too.

So.

Sigh.

That’s a lot, innit. Well. Bring it (ring it)…🍾🥂🎉

Dispatches From The Trenches, er, News From Midterms (in more ways than one):

Well goodness. In all my diary-like postings on my pen-name blog, I’ve neglected all you lovely lurkers. Well. Several of you follow me on Twitter and FB, yes? Anyway.

Let’s see, what’s happening? Oh, I’ve voted already. So ssh.

Teaching-wise: The young peeps at Metro are just embarking on their enormous one-act project, and the online ones are just now beginning to think about their research papers, as well as reading Black Elk Speaks. One Regis ha’semester has concluded, and another has begun–one of those is doing a Comparative Mythology course, which as you prolly know is one of my main expertises. So that’ll be fun. DU is about to end, with a reading event and last online week to go, only.

I’m about to teach a big group of junior high littles how to wield fist and (wooden) blade, and insert same into their Shakespeare scenes. That’s going to be fun, and for the first session I’m gonna be ghosted by a journalist from the Boulder Weekly, who’s doing two (2!) stories on me the next couple months.

Performance-wise, I had a lovely and kind of emotional time doing Vampires again. And our next Blue Dime Cabaret will occur at Full Cycle on December 14th. We’re gonna be covered by a few news sources too, so that’s a cool thing. It’s really becoming a thing that people follow, and etc.

Other than that (what other? What could I possibly add to all this?!) I’m still exploring/working on my career change: going to do a body language workshop for the Denver chapter of Spellbinders, coming up.

What better image to cap this post off with but me and the co-founder of Blue Dime Cabaret, cavorting in a real coffin at the first of two of the Vampires shows? What better, I ask you?

Sign up for Advanced Stage Combat plea #4

And the reason this time is:

Strange and unusual weapons.

At Metro, the beginning Stage Combat class covers the basics of both unarmed and rapier techniques. And as you might imagine, the whole 16 weeks’ worth of time is necessary for the introduction and especially the practice, of the bare basics.

In the advanced class, everyone enters knowing the basics, basically (we of course do a review session on our first day), and so we can use that knowledge to move forward into other stuff. This coming semester, we’ll be doing broadswords and staffs, as you’ve already heard about.

But there’s other stuff we’ll cover, too: some have to do with harder versions of the basic weapons. For example, large group fights, sword fighting up and down stairs a la Errol Flynn, circular or erratic footwork in sword fighting, advanced taihenjutsu like dive rolls, simulated (and real) martial arts throws, falling from a height, etc. (See me below, playing around on a climbing wall with a past advanced class–we learned some aerial dance rope stuff as well as basic climbing, plus falling from a height.)

In the past, I’ve also done micro-units on martial arts styles and found weapons (which are normal everyday objects used as weapons–something that pops up in current theatre far more often than, say, swords), and then of course one can also use classic weapons techniques to inform other, more unusual ones.

For example, a knowledge of basic Japanese katana technique will make you pretty decent at wielding a lightsaber (and staff knowledge helps with that double-bladed number Darth Maul had).

This coming Fall (if I can get 12 students signed up), we will be doing a video-game fight unit. And wouldn’t it be cool if I got UCD’s renowned film department in on that project. Is mo-cap, animation, or film technique in our future? Will I bring this class (as I have done for one of our summer private courses) down to one of the Parkour studios in Denver for specialized training? Time will tell. That’s if I get the enrollment numbers.

A reminder: anyone can audit, but anyone attending the three schools on Auraria campus (MSU, CCD, and UCD) can sign up for this course. As of last time I checked, I had 6 enrolled, which is half the required number I need for the class to go.

So. What are you waiting for?

Plea to sign up for Advanced Stage Combat #3

And the central reason in this post, that you should sign up for Advanced Stage Combat at MSU this Fall?

One word: broadswords.

A few years back, the theatre department purchased a bunch of beautiful hand-and-a-half broadswords that are big enough to warrant good broadsword technique, but short and light enough that they’re easy to wield. And the sound they make, clanging together, is diviiiiine…

Thing is, whereas the rapiers are used in the beginning course, and every so often in productions (like, when we do Shakespeare, for example), the broadswords are rarely, if ever, used. So we’re gonna break em out in advanced class. If I can get six more people to sign up, that is.

(The pic below is not class, and not those particular swords, but is an image from my time in the late ’90s as a stunt performer at the Renaissance Festival. It shows how much awesome fun playing w broadswords can be.)

Plea #2: sign up for Advanced Stage Combat

Reason Number 2 of thousands:

Six foot staffs.

Even in SAFD land, the six foot staff (what they call quarterstaff) is not often taught in the basic stage combat courses. This is certainly understandable to a certain extent, as it’s not one of those weapons that most actors will most often find themselves wielding.

This coming fall semester, however, I will be adding staff back into the Stage Combat curriculum. Fun fact: when I first designed the beginning Stage Combat course for Metro back in 2005, there were three weapons systems they all learned: Unarmed, Staff, and Sword (rapier). I later axed the staff unit, for to spend more time with the swords and the finals, and with the knowledge that the staff (though basic weapons training for me at the time in martial arts) wasn’t really a fundamental weapon most beginners would need to know about.

But it’s so very much fun!! And so this fall we will be wielding them again for the first time in about a dozen years. So if you’re an Auraria student or want to audit, get on your registration now so I can hit my minimum enrollment before cancellation. Do eet.

Advanced Stage Combat

Remember a few months back, when I posted a series of pleas, extolling the virtues of my Stage Movement class, so that students at Auraria campus would sign up for it? I ended up with a good number of students in that one, and now I’m beginning a series of pleas about a new, vastly exciting course.

Well it’s not new, exactly, but the last time it was offered was …. gosh 8 years ago? Is that true? Anyway, suffice to say I wasn’t expecting the good folks in charge at Metro’s Theatre department to ever offer it again. But guess what? This Fall, it’s there, with a real course number and everything. It’s called ADVANCED STAGE COMBAT, and I am pleased as punch to be teaching this again. (At least, I’ll be teaching it if enough people sign up.)

I’m planning on putting up a post dedicated to each of the things about this course I’m most looking forward to, so let’s start with what’s the very first and very last fight scene the Advanced Stage Combat students do: the big group fight scene.

Big group fights are challenging, as there’s more that goes into a 3 person or more fight than just orchestrating pairs. For the first assignment in this course, I have the students do a full-class-member fight scene. One year, it was an 8-person fight. Another year? It was 12. One group set the opening scene of Romeo and Juliet on a pirate ship’s port, including cannons, ladders, “water” and grog along with the biting of the thumbs.

If you’re a student at any of the schools on auraria campus, do sign up for Advanced Stage Combat. I need 12 people to join me, or it’ll get cancelled. Plus, it’s a very unusual thing for an undergraduate program to have this robust a Stage Combat training offered to its theatre students. You’ll see it (sometimes) in MFA programs, but this is something special to have on your undergraduate cv. Take advantage of it.