Australian Academy of Fencing | Swashbucklers' | En-Garde! Fencing
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Australian Academy of Fencing | Swashbucklers' | En-Garde! Fencing |
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Swashbuckler Education Sword Fight Choreography © by Maître d'Armes Gary Worsfield |
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| Hamlet / Laertes Duel | ||||||||||
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Directed by Francis McMahon Hamlet: Jason Gann Laertes: David Airey The Twelfth Night Theatre |
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| Act 5 Scene 2 | ||||||||||
Choreography Notes:
Parry Positions: Distance or a step backwards is taken as preliminary defence to an attack. The parry is taken at the conclusion of the attack. There is no need to push the attacker's sword away but simply take the parry position, rather than slapping swords and confusing the intention of the action.
Dagger parries are numbered the same but performed from the left hand. Transpositions: parrying an attack with one weapon and taking it in a bind with a second weapon Movement:
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X5
Examples:
Transpositions:
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HAMLET |
LAERTES |
NOTES |
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A - THE FIRST TOUCH -
Rapier to Rapier
Sequence 1. Cut, Cut, Slash |
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P2, P1 and <------ C2, C3 Mol. slash ------> side duck The timing here must be exactly the same. They are testing and copying each other C2, C3 -------> P2,P3 and side duck <----- mol. slash pause |
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| Sequence 2. Tac-a-Tac | ||
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P2,P3 and pause <--- C2,C3 and pause Timing X, X (rest X, X) C2 ---> P2 P2 <--- C2 C3 ---> P3 P3 <--- C3 C3 and pause ---> P3 and pause Timing X, X, X, X (rest X, X) P3 <--- C3 C2 ---> P2 P2 <--- C2 C3 ---> P3 P3 and bind away <--- C3 Timing X, X, X, X, X, X, bind and push away pause two beats X, X |
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| Sequence 3. Pass | ||
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P2, P1 turn anticlockwise <--- C2, C1 and pass and slash pause |
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| Sequence 4. Cut-Bind | ||
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P2, P1 and bind to floor <--- C2, C1 P2, P1, P2 and bind to floor <--- C2, C1, C2 side duck <--- mol slash to one side side duck <--- mol slash to other side pause |
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| Sequence 4. Prime Exchange | ||
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P2, P1 <--- C2, C1 Molinello - glancing blows - sound of the blade mol cut to P1 ---> P1 sliding down the blade in contrast & create focus P1 <--- mol. cut to P1 on sharp sounding parry on master's 5rev. The mol cut to P1 ---> P1 pause - surprise - Hamlet has surprised Laertes P1 <--- mol cut to P1 by being so arrogant as to use a parry traditionally mol cut to P1 ---> P1 reserved for Fencing Masters when giving lessons P5 rev "masters parry" <--- mol cut to P5 head pause pause For the molinello keep shoulder down, upper arm and cut to belly ---> relaxed & not moving, roll the forearm from elbow "A hit, a very palpable hit" to arc from downward slice to parry |
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B - THE SECOND TOUCH -
Rapier & Dagger to Rapier & Dagger
Sequence 1. Three Distinct Positions |
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These positions are "en garde" positions - first with rapier and right foot forward, second dagger & left foot forward, last rapier & right foot forward. TRANSPOSITIONS: PR2 and take with dagger <--- TR2 PD2 and take with rapier <--- TD2
TR2 ---> PR2 and take with dagger TD2 ---> PD2 and take with rapier PR1 <--- TR1 PD5 head <--- TD to P5 head Corps-a-corps: Hamlet lifts Laertes' rapier to PD5 ---> C.A.C. and push away <--- forming a X5, they pull swords down to chest height and push horizontally away from each other. |
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| Sequence 2. Dagger to Head | ||
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PR2, PR1 <--- CR2, CR1 PD5 <--- CD5 PR2 <--- TR behind back to R2 take dagger down have dagger and sword pushed left Push through to right & turn anti-clockwise and turn clockwise to PX1 <--- CRD1 bind over to floor pause |
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| Sequence 3. Hamlet attacks | ||
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PD2 <--- CR to D2 This shows Hamlet fighting back with force. CR to D2 ---> PD2 His attacks are hard and fast and the desperation CR behind back to R2 ---> PR2 in Laertes' retreating parries result in the force CD5 ---> PD5 of the parry pushing Hamlet's sword back CR back to R1 ---> PR1 around his body, simply following the CR behind back to overhead momentum. Laertes' shoulder charge was to thrust at face ---> PR6 bind with dagger overhead gain breathing room if nothing else. to floor and shoulder charge |
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| Sequence 4. Visual contact | ||
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PR2, PR1 <--- TR2, TR1 Eye contact is important here for creating the PD4 and take rapier <--- TD4 focus, especially considering this exchange brings with r over in a bind to floor them both in close proximity. Laertes is showing PD2 <--- TD behind back to D2 recklessness in desperation. turn to left and CRX1 PX1 and bind over to floor <--- Turns and R to X1 pause pause CR behind back to touch ---> "A touch, a touch I do declare" "A hit, another hit". The Queens drinks. |
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C - THE THIRD TOUCH -
"Pass with your best violence"
Sequence 1. X & Turn 3,5,1 |
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PX3 and turn clockwise <--- CR to X3 CR to R2 ---> PR2 and bind to floor PX5 & turn anti-c'wise <--- CRX5 CR to D2 ---> PD2 PX1 & turn anti-c'wise <--- C to X1 CR to D2 ---> PD2 PD2 <--- CR to D2 Bind to --> C.A.C. <--- push away |
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| Sequence 2. 3 X Cuts 3,5,1 | ||
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PR X3, X5, X1 <--- CR to X3, X5, X1 When taking the sword in transpositions here, and bind R floor treat the transposition like a bind to the floor, showing PX3 and take with dagger <--- CR to X3 contempt for Laertes' attacks. As Laertes passes the PX1 and take rapier <--- CR to X1 doubled-over Hamlet, after the knee, he grazes px5 <--- CR to X5 step forward and knee his poisoned blade across Hamlet's shoulder. Cut ! <--- "Have it you now"
"Nothing, neither way" |
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D - THEN THEY ALL DIE
Sequence 1. The Butcher's Cuts |
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CR to D3 ---> PD3 The Butcher's cuts: sliding the dagger up and down CD to R3 ---> PR3 the rapier blade as if you were sharpening a knife. CR to D2 ---> PD2 CD to R2 ---> PR2 and bind over to floor Lose dagger |
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| Sequence 2. Hamlet's Onslaught - hand to throat choke. | ||
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CR to X5 ---> PX5 half mol cut to X3 --> PX3 double handed, turn anti-c'wise to CR1 --> PX1 With two hands on the sword in an arc that turns double handed, turn c'wise to CR to X3 --> PX3 your back on your opponent. double handed, turn anti-c'wise to CR1 --> PX1 half mol. CR to X5 --> PX5 Step in, hand to throat, shunt disarms --> Drop sword and dagger behind back from shunt The choke is unexpected and instinctive Drop sword, grab hair, drag Laertes Hold hand on head however, by taking a step in he thrusts across stage, knee in stomach, towards the guards of Laertes' sword and knock to floor ---------------------------> dagger, knocking them out of his Hamlet picks up Laertes' sword, approaches hands behind his back with point threatening and forces Laertes to stage left ---------------------------> Backs away, picks up Hamlet's sword Point threatening avoids contact ------> Slashes anti-c'wise once to keep the sword away Laertes is now too focused on knocking the Slashes c'wise once sword away, his attempts to knock Hamlet's Slashes anti-c'wise twice blade becoming bigger and bigger until on the Thrusts under arm, pulls up, pushes Slashes c'wise 3 times, on 4th attempt last, he opens himself up, raising his elbow and further in, then retracts ------> is run thru under sword arm. proving Hamlet with the perfect thrusting target.
"I am justly killed with my own treachery"
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Date Last Modified: 02 Jun 2009 |
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