MARC Record from harvard_bibliographic_metadata

LEADER: 05146pam a2200313 a 4500
001 001084889-4
005 20020606090541.3
008 820311s1982 ilua 00110 eng
010 $a 82003578
020 $a0882297309
020 $a0882298097 (pbk.)
035 0 $aocm08306833
040 $aDLC$cDLC
050 00 $aPN2071.F5$bM3 1982
100 1 $aMartinez, J. D.,$d1949-
245 10 $aCombat mime :$ba non-violent approach to stage violence /$cJ.D. Martinez ; illustrated by Caren Caraway.
260 0 $aChicago :$bNelson-Hall,$cc1982.
300 $aviii, 213 p. :$bill. ;$c24 cm.
500 $aIncludes index.
505 0 $aAcknowledgments -- Introduction -- 1: Preparatory Partner Games: -- Tightrope wrestle -- Heron wrestle -- Shoulder tag -- Hand trap -- Quick draw -- Underhand tag -- Eye contact exercise -- 2: Techniques And Illusions: -- Rolling: -- Standard forward roll -- Shoulder roll -- Dive shoulder roll -- Shoulder roll without hands -- Aikido roll -- Falling: -- Backward fall -- Forward fall -- Tripping -- Side fall -- Shoulder roll and layout -- Breakfalls: -- Judo side breakfall -- Judo front breakfall -- Judo back breakfall -- Continual contact techniques: -- Shoulder shove -- Simple shoulder shove -- Two-hand chest shove -- Face shove -- Foot shove to stomach -- Head throw into shoulder roll and layout -- Push into a backward fall -- Push over a bench to a side breakfall -- Push from behind into a forward fall -- Pulling clothing -- Pulling hair -- Pulling the nose -- Pulling an ear -- Restraining wrestle, traveling -- Bending an arm behind the back -- Biting --
505 0 $aChoking, both hands from the front -- Choking, one hand from the front -- Forearm choke from behind -- Shove up against a wall -- Scratching and slapping: -- Scratching -- Slapping -- Contact slap -- Noncontact Slap 1 -- Noncontact Slap 2 -- Noncontact Slap 3 -- Noncontact double slap -- Contact double or triple slap -- Punching: -- Uppercut punch -- Roundhouse punch -- Jab -- Backhand punch -- Stomach punch -- Kidney punch -- Block and punch -- Elbow jab -- Cross Jab 1 -- Cross Jab 2 -- Hammer punch to the back -- Karate "knife hand" to the throat -- Kneeing, kicking, and stomping: -- Knee in face -- Knee in groin -- Knee in stomach -- Stomach kick -- Simple face kick -- Instep face kick -- Standing contact groin kick 1 -- Standing contact groin kick 2 -- Standing noncontact groin kick -- Reclining groin kick 1 -- Reclining groin kick 2 -- Rear-end kick -- Kick to the shinbone -- Stepping on a hand -- Stepping on the head -- Foot stomp -- Stomping the stomach --
505 0 $aKnee drop to the back -- Assorted throws, smashes, dying, lifting, and dragging -- Overhead foot throw, to the side -- Overhead foot throw -- Hip throw -- Head throw -- Head smash against a table -- Head smash against a wall -- Head smash against the floor -- Head butt -- Fainting -- Dying -- Lifting and carrying a body -- Cradle -- Fireman's carry -- Underarm drag -- One-wrist drag -- Two-wrist drag -- 3: Choreography: -- Working with the director -- Working with the stage manager -- Working with actors -- Working with designers -- Sets -- Costumes -- Music -- Lighting -- Props -- Weapons -- Dramatic theory -- Style -- Characterization -- Rehearsal time -- Rehearsal process -- Notation -- 4: Special Effects: -- Blood recipes -- Blood bag -- Blood sponge -- Blood bottle -- Blood capsule -- Breaking bones -- Breakaway furniture and props -- Suppliers -- 5: First Aid: -- Bruises and swelling -- Strains, sprains, and dislocations -- Shock -- Broken bones (fractures) -- Head injuries --
505 0 $aBlack eyes -- Cuts and abrasions -- Index.
520 $aFrom the Introduction: This book outlines-in simple terms and illustrations-how to safely create the illusions of unarmed stage violence. Other fight choreographers may find in it a technique or two that is new to them and instructive, but my primary concern is for the actor, director, or stage manager who is a novice at stage violence. I sincerely hope that this simple book will help prevent injuries related to stage fights. Each technique outlined here can be executed in an infinite number of ways, for there are literally hundreds of styles of hand-to-hand combat in existence today, as well as many varied theatrical styles. However, if the reader pays particular attention to the general principles, then techniques can safely and effectively be adapted to include other movements that suit the actor and the action. Each technique is presented so as to lead the combatants step-by-step to the safe completion of the illusion. Don't fall into the trap of attempting to perform a technique too soon. Improvising during performance is dangerous. It is essential that both partners can rely on the constancy of movement and timing established during rehearsals. Also essential to safety is physical preparedness through preliminary exercise.
650 0 $aStage fighting.
650 0 $aStage combat.
776 08 $iOnline version:$aMartinez, J.D., 1949-$tCombat mime.$dChicago : Nelson-Hall, ©1982$w(OCoLC)756437830
988 $a20020608
906 $0DLC