Stage Combat, like any art form, is subject to a wide variety of interpretations and approaches. While each trained fight director and choreographer might teach slightly differently, the common thread is an eye towards safety. Each director/choreographer has been influenced by the needs of his/her region as well as the medium in which the work is performed (filmed media vs live theatre). Here are several thoughts of what stage combat and combat choreography mean around the world.

Scot J. Mann, SAFD Fight Director/Certified Teacher says:

Stage Combat is the dramatic representation of violence. Very simply, it is combat for the STAGE. The movement of the combat is meticulously choreographed to both ensure the safety of the performer, and the believable aesthetic true to the characters involved. Since the violence is specific to characters within dramatic literature, film, and television mediums, Stage Combat is a vital performance skill for the actor.

Fightmaster Dale Girard defines combat choreography as, "Specifically plotted movement with a definite beginning, middle and end." Choreography tells a story through movement. More than just series of interesting combat moves, stage combat choreography is character-specific according to the text and the production’s concept. The Fight Director must also take responsibility for the actor’s safety by building specific safety measures into the choreography. All of these considerations lead to creating a believable aesthetic for the audience. Fight sequences often comprise just a few seconds of a two hour, or more, production. If not crafted and rehearsed properly, these few seconds can potentially ruin the rest of the production.

Brian Byrnes, SAFD Fight Master says:

In my own work over the years, the term Stage Combat or Stage Fighting can be better explained as "resolving conflict through potential, if not immediate acts of violence". (How's that for a heady definition.) Non-the-less, it is important to remember that in the better written works, each character involved in a particular moment of violence is working toward a their own positive goal. Even in the more brutal instances, characters have something positive to gain depending on the outcome of the violent act. Therein lies the conflict to be resolved -- which is rooted in the characters' needs, hopes, and desires. A "fight scene" generates its momentum as an "acting scene" that incorporates violence as a dramatic step. It is much more interesting (albeit not always tasteful or pleasant to watch) characters making decisions to benefit their means. What's at stake? What does the character have to gain, or lose? These are strong motivations that must be addressed.

My focus when working on a show deals first with the story-line and "flavor" of the sequence, then the physical structure. Sound has become more and more an important aspect of my work. I'm not just referring to music or recorded sounds as underscoring, which can add a tremendous impact, but what is the aural orchestration of the live sequence? What weapons, set pieces, and props are involved, and who is on stage and how are they aurally involved?

Another major aspect for me is to try to involve the characters, justifiable, within the actual stage space. If a "fight" is designated to take place in "open space", so be it -- but -- I do like to USE the space as a component -- walls, drapery, tables, chairs, levels, and other characters can be used directly and indirectly within a sequence. It helps to give a sequence an unplanned immediacy when the characters are implementing whatever might prove to be useful to them in that moment. I try to let a sequence "flex" and live in the space. For me, it makes the scene, as well as the entire stage more alive.

As is should be, safety, and consistency within a sequence is essential. We must continue to have an awareness and a process to maintain the safety of the performers. In all department this should be addressed -- costumes, set, lights, sound, special effects, etc. Many performer safety issues boil down to effective Partnering. Good partnering skills, combined with needed technical ability, are invaluable keys to the success of any theatrical moment that involves violence.

Article: University of Houston: Byrnes encourages fighting in the classroom.