Foreword
I have been a professional Fight Director for over thirty years. In that time I have had the pleasure of watching our segment of the entertainment industry grow and mature into a vital aspect of American theatre.
When I began my career, it was common practice in this country, even in large houses, to have fights staged by cast members, local fencing or wrestling coaches, or no one at all. The inevitable consequence of this lax approach was fights that were poorly staged—and more importantly—dangerous.
The issue was not one of callous indifference on the part of producers and directors but one of ignorance and the absence of professionals trained in theatrical violence. Change came to American theatre in the late 1970s due, in large part, ...
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