Foreword
The perfection of an art consists in the employment of a comprehensive system of laws, commensurate to every purpose within its scope, but concealed from the eye of the spectator; and in the production of effects that seem to flow forth spontaneously, as though uncontrolled by their influence, and which are equally excellent whether regarded individually, or in reference to the proposed result.
John Mason Good
Odd, perhaps, to mention a writing of an early nineteenth century doctor who, in order to supplement diminishing funds, wrote essays on medical and religious topics and, later, philosophy. However, regardless of the inferential subject of this reflection then, it seems in substance more than partially relevant to the topic of Theatrical Combat and its study and contribution to performance and, as equally if not more so, to the training of an actor who may or may not ever participate in a scene of staged violence.
Oscar Wilde once said, "Education is an admirable thing, but it is well to remember from time to time that nothing that is worth knowing can be taught." I would respectfully suggest that many things worth knowing can be obtained by training with an educated teacher and focusing on the "comprehensive system of laws" that exist and can be transmitted via a good leader/teacher. This is the proposal of the training text before you.
In the arrangement of this focus as study, and the constantly renewed discoveries of the full yield, stage/theatrical combat can offer a serious actor, believers and practitioners of this craft organized (1977) into The Society of American Fight Directors, a contributive means of continually developing our "comprehensive systems." This occurred only 10 years after the foundation of the British Society in England. Key to that organization in Great Britain was one Patrick Crean, with whom I began my mentorship in 1972, at the Tyrone Guthrie Theatre, continuing a working association for many years afterwards, and whose wisdom we in the SAFD have tried to infuse into all training that occurs under our teaching.
If an actor doesn't believe he (or she) can do something, they will prove it to you in the most unfortunate way.
Patrick Crean
It is – sometimes – joked that since "everyone can act, anyone can teach acting." How many teachers have been heard to say, even today "Just say the words love"; certainly valuable in tasting the words before rehearsal, IF followed by an inquiry as to what effect it is having/could have, on partner. Why do you really need to speak? Why are you attempting to strike somebody? Generalized "dance" coaching for actors with or without a weapon yields generalized acting with or without staged violence.
Determination of action, based on a particular partnership and awareness of appropriate parameters of respect and safety, denies the need for a director, real or otherwise, to give line readings or a generalized mood to play! It can be superficial at best or dangerous at worst. Thus we, as artists training, as well as teachers leading, must be scrupulously aware of partner, audience, and the technical challenges being transacted, concealed from the spectator, but seeming to flow forth spontaneously ... in reference to the proposed result: predictably, safely, nightly, and effectively for all who witness it.
Mr. Najarian's book successfully argues that of course this can indeed be taught by trained teachers, and the reader can easily deduce the very obvious connection to the essential tenets of actor training, most of which will not yield a staged "fight", BUT, as Earle Geister, a legendary acting coach would often counsel, the active and constant, real-time assessment by each character as to their progress toward that goal.
"The question is," said Alice, "whether you can make words mean so many different things." "The question is," said Humpty Dumpty, "which is to be the master – that's all."
This fine treatise before you strongly suggests that the mastery of self, in service of the art and artist, is achievable and very worth the wide regard it enjoys as a discipline for training an actor in leading universities and academies.
Erik Fredricksen, Professor and Chair Emeritus
University of Michigan, Ann Arbor
Founding member and past President
Society of American Fight Directors