Ranking within Swordplay School of Theatrical Fencing and Stage Combat
On researching history, all trades had Guilds that people apprenticed themselves to over a long period of time. Gaining ranks or status levels to show achievements and progress. So it was with sword work.
At SWORDPLAY SCHOOL OF THEATRICAL FENCING AND STAGE COMBAT we do not actually use weapons as a self defence, we do train in them for stage combat and over time gain an understanding of their use. We use them to effect for public performance and learn the use of swords for attack and defence in a variety of ways.
Therefore I believe we can fall under the same system that was used in European Medieval and Renaissance times for the recognition of achievements and levels. Some things regarding historical ideas are a little vague but enough information is around to get the general idea.
Following is the ranking order that Swordplay has adopted according to interpreting the history records and also used by other schools of sword work.
It should be pointed out that in the 21st century we no longer learn sword work for self defence. So it may be interesting to note that the rank of Master or Principal Instructor was given to the head instructor who devoted themselves to the art of swordsmanship full time and teaching and was a term of address from the students.
These days the study of swordsmanship is not full time and I don’t teach it for self defence to my students. However having devoted more than 33 years in martial arts training and still continuing to study the sword I accept the address of Master or Principal Instructor from my students.
Within each rank are designated senior students. This is not necessarily age related but recognised by the Master Instructor as demonstrating working knowledge of technical abilities, attitudes of nobility, honour, trustworthiness, maturity, courtesy, following dress code, Codes of conduct and personal appearance.
Progressing through the ranks should not be the focus for the student rather the title Scholar or Student of the Sword is an on going way of thinking.
Those who pursue this training and spend time reading the histories of sword work will appreciate the years of work to gain levels of swordsmanship or weapons understanding.
This activity will affect your character for the better what ever time your lifestyle allows. With that in mind and the type of sword work we do and the reasons we do them within Swordplay, our order of ranking and brief explanation as follows.
- Master Instructor Karin Kennedy
Ranking System
Weapons
Rapier-This style of sword changed in length, weight and hilt shape over the course of history form country to country. think "The Three Musketeers". We will be using a long thin epee blade as a standard.
Smallsword- This weapon was the last of the slim style swords and had an elegant syle. Again, a standard epee blade will be used
Dagger- Short slim weapon, Historically used in close quarter fighting or as a support weapon for the rapier , students will be co ordinating the use of both hands when combining the Rapier .
Knife- A utility weapon, we use hand made stage knives with unarmed staged fight scenes.
Case of Rapier- The use of two rapiers, one in each hand
Sword and Buckler- This can be a variety of swords, generally a heavier, thicker blade than the rapier and small shield held with the other hand as defence.
Broadsword- This weapon is heavier and thicker and has an earthier movement to it. it can be a single hand weapon or double handed.
Katana a Japanese sword and Chinkom a Korean sword- they have styles, flavours, movements and certain thoughts that make these weapons interesting and different to European swords. Exploring these styles is useful for theatrical application and appriecation of the skills needed. The training weapons are wooden Bokkens/Mokkom and bamboo Shinai/Chukdo.
NOTE At no time are edged weapons ever used in theatrical application or in training.
Quarter Staff- There are many different ways to use a long pole, each country had its own style and techniques. For theatre work, we draw on a wide variety of movements and add the flavour needed for the fight.
Duelling- With protective clothing for extra saftey , we reasearch the historical fencing masters and their footwork and sword handling techniques.Seen from this perspective the students appreciation is enhanced for application of blade work and how a historical duel might through choreography evolve into a piece of theatre. This is great tactile training in blade sensitivity , partner and spacial awareness
Theatre and Drama Techniques- to complement sword work. We will be learning acting skills therefore building a skilled troupe of performers
