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Stage combat Luta de cena 武打 Sceneja lukto Bühnenkampf 殺陣 Combate escénico
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殺陣(たて)は、演劇・映画・テレビドラマで俳優が格闘シーン時に素手素足もしくは武器を用いた演技。技斗・擬斗・擬闘とも呼称される。殺陣は主に時代劇、技斗は主に現代劇に用いる。 Luta de cena (em inglês stage combat) é uma técnica especializada de teatro projetada para criar a ilusão de combate físico, sem que os participantes sejam feridos. É empregada em peças teatrais, bem como em como em óperas e ballets. O termo também é usado informalmente para descrever coreografias de luta para outras formas de arte, como filmes e produções para televisão. É um campo de estudo comum para atores e dançarinos, além de ser fortemente relacionado com o trabalho dos dublês. Em Portugal, Miguel Andrade Gomes e têm trabalho reconhecido nesta área. Sceneja lukto estas specializita tekniko en teatro desegnita por krei la iluzion de fizika luktado sen kaŭzi damaĝon al la ludantoj. Ĝi estas uzita en direkta teatroludado same kiel en produktaĵoj de opero kaj baleto. La termino estas ankaŭ uzata neformale por priskribi koreografian lukton por aliaj produktaĵoj kiaj ĉe filmoj kaj televido. Ĝi estas ankaŭ ofta studobjekto por aktoroj kaj dancistoj kun kelka formo de trejnado de luktartoj, kaj estas tre proksime rilata al la praktiko de stuntistoj. Stage combat, fight craft or fight choreography is a specialised technique in theatre designed to create the illusion of physical combat without causing harm to the performers. It is employed in live stage plays as well as operatic and ballet productions. With the advent of cinema and television the term has widened to also include the choreography of filmed fighting sequences, as opposed to the earlier live performances on stage. It is closely related to the practice of stunts and is a common field of study for actors. Actors famous for their stage fighting skills frequently have backgrounds in dance, gymnastics or martial arts training. 武打,於戲曲中表演的武術。粵劇中稱為武場。 由於武術家雲集在嶺南一帶,流派眾多,有洪拳、、、岳家教等,其中以詠春拳、蔡李佛拳、洪拳比較著名,所以在武場中使用的傳統嶺南武功注重坐功、打功、拳術、器械對打、高臺功夫、絕技,以近距離對打為主,強調力量。自從薛覺先從京劇引入北派功夫,強調大開大合,以遠距離對打為主,加強了舞臺上的觀賞美感。 Bühnenkampf, Theaterfechten, Bühnenfechten oder Szenisches Fechten (engl. stage combat oder stagefight) ist die Darstellung von Gewalt in Film, Fernsehen und Theater unter der Leitung eines Bühnenfechtmeisters bzw. Bühnenkampfchoreographen. Die Bezeichnungen sind in Deutschland nicht geschützt, während für den englischen Fight Director ein Dachverband existiert. Weitere Bühnenkampfsparten sind etwa unarmed combat (unbewaffneter Kampf, also häusliche Gewalt, Kneipen- und Straßenprügeleien etc.), Schusswaffen aller Art oder asiatische Kampftechniken. El combate escénico es una disciplina consistente en crear y realizar coreografías de escenas de enfrentamientos, peleas, broncas, combates, etc. para el entretenimiento. Existe una infinidad de estilos de coreografías de combate dependiendo del género y punto de vista del director de la obra en cuestión. Puede ser cómico, realista, de artes marciales, etc. Finalmente, todos estos estilos son fantasías, más o menos apegados a la realidad. El combate escénico puede compararse con la danza, pues de la misma manera se marcan los pasos de la coreografía; los participantes practican sus partes correspondientes y el director o el coreógrafo determina la estética de los movimientos según las características de los personajes.
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武打,於戲曲中表演的武術。粵劇中稱為武場。 由於武術家雲集在嶺南一帶,流派眾多,有洪拳、、、岳家教等,其中以詠春拳、蔡李佛拳、洪拳比較著名,所以在武場中使用的傳統嶺南武功注重坐功、打功、拳術、器械對打、高臺功夫、絕技,以近距離對打為主,強調力量。自從薛覺先從京劇引入北派功夫,強調大開大合,以遠距離對打為主,加強了舞臺上的觀賞美感。 殺陣(たて)は、演劇・映画・テレビドラマで俳優が格闘シーン時に素手素足もしくは武器を用いた演技。技斗・擬斗・擬闘とも呼称される。殺陣は主に時代劇、技斗は主に現代劇に用いる。 Stage combat, fight craft or fight choreography is a specialised technique in theatre designed to create the illusion of physical combat without causing harm to the performers. It is employed in live stage plays as well as operatic and ballet productions. With the advent of cinema and television the term has widened to also include the choreography of filmed fighting sequences, as opposed to the earlier live performances on stage. It is closely related to the practice of stunts and is a common field of study for actors. Actors famous for their stage fighting skills frequently have backgrounds in dance, gymnastics or martial arts training. Luta de cena (em inglês stage combat) é uma técnica especializada de teatro projetada para criar a ilusão de combate físico, sem que os participantes sejam feridos. É empregada em peças teatrais, bem como em como em óperas e ballets. O termo também é usado informalmente para descrever coreografias de luta para outras formas de arte, como filmes e produções para televisão. É um campo de estudo comum para atores e dançarinos, além de ser fortemente relacionado com o trabalho dos dublês. Em Portugal, Miguel Andrade Gomes e têm trabalho reconhecido nesta área. El combate escénico es una disciplina consistente en crear y realizar coreografías de escenas de enfrentamientos, peleas, broncas, combates, etc. para el entretenimiento. Existe una infinidad de estilos de coreografías de combate dependiendo del género y punto de vista del director de la obra en cuestión. Puede ser cómico, realista, de artes marciales, etc. Finalmente, todos estos estilos son fantasías, más o menos apegados a la realidad. El combate escénico puede compararse con la danza, pues de la misma manera se marcan los pasos de la coreografía; los participantes practican sus partes correspondientes y el director o el coreógrafo determina la estética de los movimientos según las características de los personajes. La figura del coreógrafo de una escena de combate es primordial. Es por lo cual los nombres como Yuen Woo-ping, Bob Anderson, Claude Carliez, Sammo Hung Kam-Bo y otros se convirtieron en personas más valiosas en una producción. Bühnenkampf, Theaterfechten, Bühnenfechten oder Szenisches Fechten (engl. stage combat oder stagefight) ist die Darstellung von Gewalt in Film, Fernsehen und Theater unter der Leitung eines Bühnenfechtmeisters bzw. Bühnenkampfchoreographen. Die Bezeichnungen sind in Deutschland nicht geschützt, während für den englischen Fight Director ein Dachverband existiert. Bühnenkampf wird ausgeführt von ausgebildeten Schauspielern oder Aktionsdarstellern für Bühne, Film und Fernsehen. Zur Sicherheit der Darsteller und des Publikums werden bühnenspezifische Kampftechniken angewandt, die von einem Bühnenkampfmeister einstudiert und überwacht werden müssen. Das Bühnen- oder szenische Fechten ist nur eine der bühnenspezifischen Kampfsparten, die eine spezielle Ausbildung erfordert.In der Praxis zeigt sich oft, dass Sportfechten eine denkbar ungenügende oder sogar hinderliche Voraussetzung für das szenische Fechten ist.Ein Grund dafür ist der Unterschied in der Zielsetzung: Im Sportfechten möchte man einen Gegner bezwingen; wer den ersten Treffer gesetzt hat, ist meistens nur durch die aufleuchtende Anzeigelampe zu erkennen. Beim Bühnenfechten hingegen geht es nicht darum, möglichst schnell einen Treffer zu erzielen. Hier arbeitet man im Rahmen einer festgelegten Choreographie, mit Partnern und mit dem Ziel, eine oder mehrere phrase d’armes auch für den Zuseher nachvollziehbar und dramaturgisch ausgearbeitet zu präsentieren. Dafür gibt es eigene Notationsverfahren. Dabei ist der Fechtstil des 20. Jh. nur sehr selten gefragt, vielmehr kommen Fechttechniken und Waffen von der Antike bis zum 18. Jh. zum Einsatz – von der Spatha bis zum Hofdegen. (Mit diesen Techniken befassen sich auf sportliche Weise auch die historischen Kampfgruppen.) Bei der Darstellung von Fechtszenen aus der Zeit des 17./18. Jh.s (Mantel- und Degen-Stil) wird mit stumpfen historischen oder mit Sportwaffen gefochten. Bevorzugt setzt man dabei Sportsäbel oder Sportdegen mit französischem Griff ein (ohne Pistolengriff). Zur akustischen Aufbereitung kann man noch Löcher oder Schlitze in die Glocke der Waffe schneiden, damit das Gefecht auch realistisch klingt.Wenn man dagegen mit dem schwereren Rapier kämpft, wird nicht selten in der linken Hand ein kleiner Schild, ein Linkhanddolch (main gauche) oder einfach ein Mantel getragen. Fechten kann als Hieb- oder Stichfechten ausgeführt werden (bzw. als Mischung beider Stile). Beim Bühnenfechten wird das Hiebfechten bevorzugt. Zum einen ist es (etwas) sicherer, zum anderen hat es eine größere optische Wirkung. Unter Experten ist es umstritten, ob das Bühnenfechten oder das Sportfechten näher am historischen Fechten sind. Für das Sportfechten spricht, dass das Gefecht ergebnisoffen ist, man keine Angst vor Treffern haben muss und schnörkellos gefochten wird, sowie die trainierte Perzeption, die beim Theaterfechten größtenteils lediglich simuliert wird. Für das Bühnenfechten spricht, dass die Waffe meist schwerer ist und nicht nur auf das Ziel „abgekippt“ werden kann, sondern durchgezogen werden muss. Ebenfalls für das Bühnenfechten sprechen die umfangreichen Immobilisierungs-, Fixierungs- und Entwaffnungstechniken, die es beim Sport gar nicht gibt. Erschwerend kommt noch dazu, dass die Agilitätsschule des Sportfechtens nicht auf andere Kampfkünste übertragbar ist und selber eine massiv reglementierte Variante der klassischen Fechtschule des späten 19. sowie des frühen 20. Jahrhunderts darstellt. Es gibt außerdem massive inhaltliche und technische Unterschiede zwischen der klassischen, tanzbasierten Bühnenfechtkunst und dem modernen, größtenteils auf asiatischen Kampfkünsten fußenden Filmfechten, welches heute weitaus stärker verbreitet ist. Weitere Bühnenkampfsparten sind etwa unarmed combat (unbewaffneter Kampf, also häusliche Gewalt, Kneipen- und Straßenprügeleien etc.), Schusswaffen aller Art oder asiatische Kampftechniken. Alles, was als körperliche Auseinandersetzung oder Action für Schauspieler als zu gefährlich eingestuft wird, fällt in den eigenständigen Bereich Stunt, der sich allerdings mit dem Bühnenkampf überschneidet. Oft arbeiten Bühnenkampfmeister und Stuntkoordinatoren zusammen oder sind idealerweise beides in einer Person. Inzwischen gibt es in Deutschland auch Möglichkeiten, sich dem Thema Bühnenkampf in Workshops eingehend zu widmen. Sceneja lukto estas specializita tekniko en teatro desegnita por krei la iluzion de fizika luktado sen kaŭzi damaĝon al la ludantoj. Ĝi estas uzita en direkta teatroludado same kiel en produktaĵoj de opero kaj baleto. La termino estas ankaŭ uzata neformale por priskribi koreografian lukton por aliaj produktaĵoj kiaj ĉe filmoj kaj televido. Ĝi estas ankaŭ ofta studobjekto por aktoroj kaj dancistoj kun kelka formo de trejnado de luktartoj, kaj estas tre proksime rilata al la praktiko de stuntistoj. Kapoejro (capoeira, en la portugala) estas luktoarto en la kampo de la scenejaj luktoj disvolvita de afrikaj sklavoj alportitaj al Brazilo kaj de iliaj posteuloj. Ĝin karakterizas lertaj kaj kompleksaj korpomovoj, farataj ofte sur la planko aŭ kapmalsupre kaj piedleve, kaj havantaj kelkfoje fortan akrobatan komponanton.
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