Sunday, September 29, 2013

Unarmed fights and 9/23 post

The 9/23 post is all true.
I agree with everything in the post. The real world is hardly ever as clear cut as it is shown in the world of play dialogue. People are always cutting each other off and interrupting one another. So it would only be right that a fight s the same. Seeing as I've never been in a real fight i can only speak through second hand reports from friends.  But in a fight there is no you go, I go, you go. It is all heat of the moment. So to fight like Mamet Write would be to create a very accurate portrayal. 

Alright to start out, everyone did a great job with their unarmed fights.

Peter and Fred:
This fight i found to be very realistic, As I could see the fatigue in the combatants. The pause points in the fight helped to convey not only the fatigue, but also to allow time for the audience to keep up. I also liked the bit of humor added to the fight. With the smokes and the kicking deflect.

Bruce and Maggie:
I didn't get the dog humping his leg but i did get the kick. Which was a bit funny. I felt the moves could have been worked together a bit more almost seemed clunky. However in the end, id say it was a good fight.

Clara and Habel:
I felt there was something holding this piece back as if they were hesitate to touch one another. But other than the it was a solid fight. Their sight lines were very well set (at least from where i was sitting.) And overall was a decent fight.

Sam and Anthony:
The choke out no winner ending was great but it felt rushed. But the rest was well plotted. The fight Itself had a great sense of flow to it. A clear beginning and end. 

Gina, Tatum, and Cheseny:
First congrats on doing a three way fight it must have been a real challenge. But it was well executed. I found everything to be well putt together. 

Micayla and Brittany:
CAT FIGHT!! sorry had to say it. Any who, this fight was well put together and presented well had a great sense of humor to it as well as great sight lines and vocal inflections. Well done. 

As for my fight i believe we did  a good job could of worked more on sight lines and our hits. But overall we did a good job i think.

So all in all good job everyone with your Unarmed fights.


http://v8.en.memegenerator.co/instance/39481581

Gordon Moon
a.k.a. Zeeo88

Friday, September 27, 2013

Fighting like Mamet, Unarmed Fights, and Clapping Bunnies :D

The fighting like Mamet article was interesting to read. A lot of his techniques did cross over to the warriorship rules. This really does give you a sense of how to create a more organic flowing fight that looks realistic and is executed safely :) So this is a wonderful blog post/ article to read to get some inspiration on making a fight seem realistic through actions, character and dialogue.

In class today, we presented our unarmed fights. Unarmed fighting is always my favorite part of stage combat, and everyone did such an awesome job! I will be giving my two cents on everyone's fight as well as my own groups fight, see below!

Peter and Fred: 
As Jenn mentioned in class, the punctuations added in class made the fight easy to follow! I liked the flutter feet as a blocking tactic as well as the nonchalantly stepping away smoking a cigarette (just be sure to do something with the cigarette so the audience isn't wondering where it went!) Knee slam was so brutal! All in all, wahoo!

Gordon and Mike:
The whole bumping into each other starting a fight was comical. I still think it should have ended with the punch in the face when Gordon was trying to help Mike up, but yes...the back flip was cool and we're all jealous! So wahoo!

Bruce and Maggie:
Kicking the dog was funny! Late on a knap or two, but the whole string was short sweet and to the point (sometimes simple can be fun!) Wahoo!

Clara and Habel:
This fight was a little less humorous (which is totally fine!) It's nice to see a more darker fight, because those exist too! I loved the nonchalant trip from Habel. So Wahoo!

Sam and Anthony:
This was just fun to watch. The vocalizations were great! And the crab hands in the middle of the fight was hilarious. Both of you choking each other was a comical way to close the fight :D so wahoo!

Mikayla and Brittany:
Rock, paper, scissors to start the fight was hilarious. The fight escalated pretty quickly after that which added to the humor! Nice Jazz hands Brittany! And the vocalizations of this fight were also great! Wahoo!

As for my own group, I loved the simplistic route we took, it gave us time to focus on perfect those few moves to really solidify them. I loved performing it, its a fun bit that I would use again in the future if there was a need! So wahoo!

Wahoo to everyone and of course the image for today:


I hope I have enlightened you today!
-Tatum R.

Wednesday, September 25, 2013

Fight Clip 1

Scene: Fast Five. Dwayne Johnson and Vin Diesel duke it out in an all out epic brawl.

Actors: Luke Hobbs (Dwayne Johnson) Dominic Toretto (Vin Diesel).

Stuntmen: Both Dwayne Johnson and Vin Diesel performed their own stunts in this movie.

Scenario: Hobbs is part of the US Law Enforcement Agency that is sent over to locate Toretto after he is on the most wanted list in the United States and flees. They finally encounter each other and an all out brawl begins.

Genre: Mostly Muay Thail and Brazilian Jiu Jitsu were used in this scene. It basically is a scene of two monster guys just fighting until the death.
Objective: Toretto's objective is to not be captured by US Law Enforcement. Hobb's objective is to bring down Toretto and his group. 

Tactics: Both actors use skills that they have acquired throughout their acting careers through other experiences.
Obstacles: The obstacle is whoever wins the fight, will meet their own objective. 
I chose this scene because it is a great fight clip of two well-known actors that happen to be monsters. This fight clip is a battle of epic proportions. 

http://youtu.be/ulq4Swm8alU - This is the link to the fight clip. Check it out.

Chapters 1 - 4 and The Three Rules

Chapters 1 and 2 gave me great insight to learning new acting abilities. I never knew that a lot of my favorite actors opt out of performing their stunts. In these 2 chapters I learned the basic movements and ways to avoid injury while performing stunts. Stage combat in general interests me because I am a person that enjoys adrenaline type activities, so learning how to perform stage combat is really going to help me in my pursuit of becoming a film or television actor.

Chapter 3 taught me a lot of information that I was already well aware of about martial arts. I have always enjoyed fighting, so throughout the years I have followed many different varieties of mixed martial arts such as Brazilian Jiu Jitsu, Muay Thai, and Kung-Fu. Martial arts is a great way to learn to fight while also learning the ability to show self control. This chapter just added more knowledge to what I already knew about martial arts.

Chapter 4 went into great detail about unarmed fights, which really interests me because it seems so real. I had a great time reading about all of the ways to make your unarmed fights look like they are real fights. Also, learning the techniques in class was a great experience and I am really looking forward to our performances on Friday the 27th.

The three rules to me are really just common sense that every actor should know anyways!!

"Acting is a passion in my life."

Monday, September 23, 2013

How to Fight Like Mamet Writes

This link is right in line with my Three Rules article you've all read. Thought you'd enjoy it as an addition to your readings.   ~Prof. Jenn

http://chicagoschool.m.webs.com/site/mobile?dm_path=%2Fapps%2Fblog%2Fshow%2F27085230%2D5%2Dways%2Dto%2Dfight%2Dlike%2Dmamet%2Dwrites&fw_sig_social=1&fw_sig_site=83807612&fw_sig_time=1379656473672&fw_sig_api_key=522b0eedffc137c934fc7268582d53a1&fw_sig_is_admin=0&fw_sig_url=http://chicagoschool.webs.com/&fw_sig=1ed930fc9790ebac594cf2949450f0d7&fw_sig_tier=0&fw_sig_permission_level=0&fw_sig_session_key=65f30ea77a3e1141b475f5e1729db57f60a7ddc205b837c308088e5ed4f2d4b4-83807612&fw_sig_premium=0&fw_sig_access_token=020eab2e129c2c51d0da1c461a1d0313ae3b3e48&fw_sig_permissions=none&fb_sig_network=fw#2031





Thursday, September 19, 2013

Ip Man

Scene: Yip Man vs 10 black belts in Ip Man (2008)
Actors: Yip Man: Donnie Yen
Stuntman: Actual martial artists were used including Donnie Yen

Scenario: Yip Man and 10 black belts in a dojo
Style: Yip Man uses Wing Chun. While the black belts use Tae Kwon Do.
Genre:1 (Realistic), b (Dramatic)
--It looks realistic throughout the whole fight scene and is very dramatic and serious.
Three Rules: I am using Yip Man for this.


Objective- This fight scene happens after Yip Man finally decides to challenge the Japanese solders occupying his town. He must do this to protect his family and loved ones.
Tactics- Yip Man uses Defensive techniques and offensive Techniques to take out his opponents. He rolls to dodge attacks and uses distance to try to take one at a time.
Obstacles- The 10 Men he is up against.

Questions- This fight is used to get the Japanese Commander to fight him.
I chose this scene because I believe it is one of the best fight scenes in any martial art film and due to its realism in how a real fight would go.




Scene: Opening Fight. The Comedian VS Assassin

Actors: Jeffery Dean Morgan-The Comedian, Matthew Good-Assassin. I wasnt able to find out who did the stunts for this scene.

Scenario: Morgan is sitting on his couch in his New York City apartment watching TV when an assassin comes to kill him.

The fight is dramatic and expressionistic. The impact of each hit is well represented, with some slightly unrealistic moments. 

Morgans objective is to kill the intruder in order to stop him from either robbing or killing him. He doesn't seem very surprised that someone is out to get him considering his lengthy career and history of being one of the Watchmen. He also has a loaded gun on his coffee table so he must be a little paranoid.

He uses several tactics that fail to save him before he is beaten bloody and thrown out his window to his death. The first tactic he uses is distraction, he throws his coffee mug at the attacker and dives for his gun, but the attacker is too fast and quickly disarms him. They exchange blows for a moment until Morgan is bested and thrown across the room through his table. He then attempts to kill the attacker with knives but ends up having his smashed through his granite counter top before he is thrown out of his window.

His main obstacle that he is eventually beaten by is the assassins speed. He comes up with some good tactics to keep ahead of the game but in the end he just isn't fast enough. We later find that the assassin is Adrien Veidt one of the old Watchmen who is so fast he can catch bullets.

I love this scene because it is just an utterly one sided beat down being shown to the tune of Unforgettable by Nat King Cole. I find both the cinematography and contrast between the slow love song and the ass kicking to be just great, and it doesn't hurt that it is the intro to one of the best movies ever!

Serenity Spoilers


http://www.youtube.com/watch?v=MoMpau_B2Io
I chose this because it's Summer Glau kicking some major ass, and doing her own stunts.  The fight directors used her dance background and integrated it into the fight sequence, which we can see very clearly. Her stunt double was used in places (specifically a flip and the bit with the stairs), but Summer trained incredibly for the months leading up to shooting Serenity.

Scene: River Tam vs Bar-goers (Serenity 2005)
Actors: Summer Glau, Stuntmen
Stuntmen: All of the Stuntmen! (link to cast list http://www.imdb.com/title/tt0379786/fullcredits?ref_=tt_cl_sm#cast), Summer Glau, Bridgette Riley

In this segment of Serenity, River (the badass) has seen a commercial on the television that was encrypted and broadcasted to trigger the training she'd received through an Alliance organisation while they were playing with her brain, trying to create the perfect assassin.  She whispers, "Miranda," (Spoilers, sweetie) and then starts to tear the bar apart, only to be stopped by the safe word her brother, Simon, recites at the perfect time.

I thought this fight would be interesting to dissect, as her training is triggered (a theme Joss Wedon likes to use, as seen with Mellie in Dollhouse, season one), and she doesn't have a conscious mind around her fighting.  If someone moves near her, she attacks, as seen when the couple is running up the stairs.  When Jayne, her comrade, tries to stop her, she simply attacks back, not giving a second thought as to whom she's whacked upside the head with a serving platter.  The only person she hesitates to attack is her Captain, Mal (but there are reasons and theories behind this, blah blah).  Her training would require her to attack blindly until the safe word is uttered, or until she's near death/dies. She's a living weapon, using any weapons against her to rebuttal and attack the next person.  She, herself, doesn't have motivation beyond the trigger, but the motivation behind the Operative triggering her was to track her down through broadcasting systems and security feeds, as she's incredibly valuable to the Alliance with her intelligence and all of the training, conditioning, and programming they put her through.  That was really the sole purpose of this fight, but it's done in such a way as to startle the audience and let us wonder what the hell really happened to her in the Alliance facility, and to foreshadow for more wicked butt-kicking in the end that is in her control.  (It's badass.) Mal also is brought to question Simon and River (again).

She's all about attacking, and winning.  The Alliance facility scraped out her amygdala, which in her case leaves her able to feel everything, but in the assassin trigger, leaves her feeling nothing but the need to kill and survive no matter the cost.  She's given the opportunities to not have things go her way, of being grappled and hit back, but she comes back up and keeps fighting (as per her training, blah blah blah). 

I also chose this scene over the Reaver scene at the very end, mainly because this one is primarily hand-to-hand, whereas at the end, she has Reaver weapons. Not that she doesn't ever fight with her bare fists there, but I shall refrain from a wordier digression.

An interview with Summer! http://www.summer-glau.net/pdf/03.pdf
And an interview you don't have to read! http://www.youtube.com/watch?v=jOetTqkuNk8

I think this is definitely more of a dramatic and expressionistic fight with all of the dance elements included. It was beautifully choreographed, and the unique styling makes it incredibly enjoyable for me to observe.  Just mute and watch, and it seems almost like a dance more than a brutal fight (especially when put to music. It's quite lovely).

Wednesday, September 18, 2013

Sorry about the lateness of this post.

Scene: Gabriel Yulaw vs. Gabe Law in The One (2001)
Actors: Gabriel Yulaw (grey): Jet Li, Gabe Law (black): Jet Li.
Stuntmen: Sam Kai-Sen Huang and Jian Yong Guo. These stuntmen were used more for filling in for Jet Li while he was playing the other part. Huang was his Yulaw double and Guo was his Law double. As Jet Li himself is a master martial artist.
Scenario: Law and Yulaw meet at a warehouse for the climatic battle over who will be The One.
Style: Martial arts.
Genre: 2 expressionistic, 2 dramatic.
--The fight is between to super powered men. So there is a lot of wire work to show the powers. So its expressionistic, because its obliviously not realistic, but still not a dance. The fight is very serious as both realize they may not come out of this alive, so dramatic.
Three Rules: As both character are important to the story and both are evenly matched. Also most of the the rules apply to them both. In this film, there a multiple alternate universes. Each with a different copy of a person. Now when one of those copies die his life force (strength, wisdom, and energy) is split up a give to the other copies. Now if all of one copy die the last surviving copy will receive all that power. Now Yulaw and Law being the last of their copies make them extremely powerful.

Objective: Yulaw wishes to kill Law becoming the last of his copy, thereby becoming "The One". Law wants to stop Yulaw from becoming "The One" but in order to do so must beat him and take him alive.
Tactics: They are both well trained fighters as both were in some form of law enforcement. Both vary from defensive to offensive. Yulaw is at first taken back by Law's fierceness and sudden control over his powers. But begins to toy with him and ultimately gain the upper hand.
Obstacles: Each other, as both are trained fighters and have equal strength and speed. However, Yulaw has more experience handling this power.

Other Info: In this film, there a multiple alternate universes. Each with a different copy of a person. Now when one of those copies die his life force (strength, wisdom, and energy) is split up a give to the other copies. Now if all of one copy die the last surviving copy will receive all that power. Now Yulaw and Law being the last of their copies make them extremely powerful.
Why I chose it: I chose this fight because it is a great martial arts battle. Also its Jet Li vs JET Li. But also I have fond memories of watching this movie with my father.

Sorry, I had trouble uploading the video but here is the link to the youtube page to watch, enjoy.

Gordon Moon
(Zeeo88)

Fight Scene Clip from Yojimbo: Sanjuro vs. Ushitora's gang

Scene: Akira Kurosawa's Yojimbo. Japan in the approximated year 1860 in an unknown village taken over by two dangerous gangs.

Actors: Sanjuro (Toshiro Mifune) vs. Ushitora's gang (Daisuke Kato, Kyu Sazanka, and two others)

Stuntmen: During my research, it is stated there were stuntmen for this movie, however finding the names of these stuntmen was difficult.

Scenario: Sanjuro, a lone ronin enters a town which is torn apart by two rival gangs. Each side tries to have him become their own bodyguard (Yojimbo.) He offers some help and in the end there is balanced attained in having both gangs out of the picture.

Genre: It begins very expressionistic. This Japanese style of focus, dedication, and motivation on each strike is evident, especially in the beginning of this scene where Sanjuro is walking focused and calmly towards Ushitora's gang. It is also realistic once the fighting begins. swords striking about and the sight of speed per character.

I will be taking the Objective levels through the eyes of Sanjuro.

Objective: His ultimate objective is to live and survive. (To WIN.) He has no need for the people of this village, however there are sparks of attaining a neutral state to this village where it was once a major danger zone. 

Tactics: He uses his skills attained as a living ronin. Focus, speed, determination. He remains calm and does not give in to fear or instability. 

Obstacles: The aggressiveness of the Ushitora's gang force against him. He is aware of this obstacle. He does not flee from this. 

I chose this scene because not only am I a Kurosawa fan, but I am infatuated with Sanjuro. His methods and focus. What it means in displaying what a ronin truly is. Movies like this are sometimes easily forgotten so in re watching this, it is humbling. This is an inspiration to many great movies we see today. For example, Clint Eastwood's old classics. 


I've included the link in case the movie does not work. Enjoy! :)
-Gina Bauza

Tuesday, September 17, 2013

Tai long vs Furious five


1.       It is a martial arts style of fighting combat, it is very dramatic and expressionistic, it’s a serious fight with a little comedic aspect thrown in due to it being a kid’s movie.
2.       The objective of this scene is for the furious 5 the protectors of china to defeat Tai Long who just escaped from prison, and he wants to defeat his master and the Dragon warrior ( PO, the panda) who everyone sees as a joke, but Tai Long has no idea the dragon warrior he wants to battle with is a panda. The Furious 5 are acting against their masters wishes in hopes of defeating Tai Long.

The obstacle is Tai Long is destructive and amazing at martial arts and will let no one get in his way; he will achieve his goal no matter the cost, and the furious five are up against a unwinnable opponent, it is the dragon warrior destiny to defeat Tai Long.

The tactic is the furious five to hold of Tai Long, long enough for Master Shi Fu to train Po the dragon warrior in time to defeat Tai Long.
3.       The Fight scene starts 1:30 seconds into the clip, in the movie this fight scene is toward the end of the film, the characters resort to violence, because there is no other way to stop Tai Long, al he knows since he was a young cub was fighting, there is no reasoning with him at all. The furious five needs to stop him or china will fall. And no its not a fair fight, to start of its 5 against 1, but still they had no chance of defeating him from the start, he is a unstoppable force only the dragon warrior can defeat him. Tai Long wins and moves on to confront his destiny while the Furious five are broken and defeated, only Po the dragon warrior can save them.
4.       No stunt doubles were used in this scene since it is an animated film, but the cinematography was done by Yong Duk Jhun
5.       I choose this fight scene because I fell like even though it was a children’s animated film they did a lovely job of animating martial arts. I just love how it flows together and how beautiful the cinematography was in this film and scene. I love how well they fight together and the small comedic aspects incorporated in it. And its interesting to see animals fighting in the style that are named after them.

- Brittany McNellis



Sunday, September 15, 2013

Three Rules for Warriorship = WAY more interesting fight!

After reading each of these articles I have found that they all mesh well together, it even creates its own circle one after another.
 The first thing I learned after reading the three rules for warriorship is it being the essential motivational guide needed for Theatre and Film. The audience must feel this drive, this need from the protagonist. What is he really out for? I've found when the motivation is lacking (Yes, I've seen many bad films...) The fight itself comes out very silly. One bad film I will bring up (even though it is pretty hilarious!) is Samurai Cop. It is pretty much just your average mock of an early 90's action film. There are scattered silly motivations throughout it, however it was seriously just created to be laughed at.

The second thing I learned regarding the Martial Arts vs. Stage Combat blog, is that there is a BIG difference with the confidence of one who knows a little bit of stage combat and one of a professional martial artist. They both require training but both have their own understanding of what constitutes a limitation, one example is safety. If one who is learning stage combat breaks a few safety rules and ends up causing a fellow cast mate to take a needless hit, its bad. A professional martial artist has been trained to handle hits and may perhaps be preparing for a competition. Yes, they are taking risks but it is after a very extensive amount of time for training unlike the stage combat, which only focuses on the appearance of the fight. I can clearly see the vital importance of these differences. Perhaps we need to write at the end of movies, "Do NOT try at home" for those who do not have a clear understanding of the difference.

Finally, the last thing I learned is the different fighting styles used in film. It's a very interesting feel of East meets West for most American films. Two examples I'd like to use is "Crouching Tiger, Hidden Dragon" and "Indiana Jones." It would be nice to see more uses of different martial arts I suppose Karate style is becoming ever more popular lately. Just as Jenn has mentioned in class, You don't find too many Western style fights anymore. Each style really brings a new dimension and style with it. "Crouching Tiger, Hidden Dragon" has a more assertive, at one with yourself feel that as a viewer I really enjoyed. Each character had their own motivations and in a way, the fights in this film were beautifully filmed together, almost like that delicate balance in knowing when to strike and when it isn't worth your efforts. "Indiana Jones" is more the American, "Lets jump right into this mess, get out of it, and jump right into this random oddity of mess and see what happens." I loved the sweaty crazy aspects of these fights and the exposure to not just western ways but also the different approaches to the fighting styles of other cultures.

In conclusion, When a fight is placed together well, we can see that as an audience. When it is very bad? Well, we are fully aware of that as well. In having a crisp understanding of the three rules of warriorship, the difference of professional fighters and actors, as well as the origin of different fighting styles. We are much more able to deliver high quality scenes.

"Samurai Cop" 2013. "http://cdn.fantasiafestival.com/2013/img/films/037/001_300x.jpg"13 Sept 2013.


Friday, September 13, 2013

sample Fight Clip Club #0 entry

This is the basic idea I'm looking for in your homework for this weekend.

Scene: Holmes vs. McMurdo in Sherlock Holmes (2009)
Actors: Holmes: Robert Downey, jr  McMurdo: David Garrick
Stuntmen: none, the actors do the fights. Be it so noted that Garrick is a boxer (not an actor necessarily but a stuntman in several things, including Batman and Bourne) and Downey jr. has experience in Wing Chun kung fu.

Scenario: Holmes and McMurdo in a bare-knuckle boxing match at what I as a Sherlockian nerd can only assume is Allison's rooms.
Style: Victorian England, bare-knuckle boxing, also a touch (for Holmes) of Bartitsu
Genre: 2 (expressionistic), c (swashbuckling)
--it does look rather realistic (1) at the beginning, but once we get to the Sherlockian POV and especially the slo-mo and inner monologue, it turns to the expressionistic. It's not a funny fight (a) nor is it scary/icky (b) though we do get pain/fatigue in good measure. So I chose c (swashbuckling).
Three Rules: I am choosing to discuss Holmes' Rules, as McMurdo is so small a part that he is merely one of the obstacles more than a pivotal factor in the rest of the story. If I were David Garrick, however, of course I would go through these rules for myself to prepare.

  • Objective: This is an exhibition fight, so Holmes' objective is To Win. Life and limb is not at stake, except where McMurdo's power to hurt him seriously is concerned. Money is certainly a factor in his need to win. His objective takes a turn in the middle of the fight as he notices Irene Adler in the audience, so a sub-objective becomes To See What She Is Up To.
  • Tactics: we can see Holmes using basic defensive boxing maneuvers until he is clocked so hard he pirouettes twice and falls. Seeing Adler in the crowd, he then takes a moment to set up a sequence of tactics in his own head before physically executing them. It's nice as an audience to see this, as we can hear what he's planning and why, before we see the results.
  • Obstacles: getting clocked pretty gosh darned hard in the face, getting distracted by Adler, McMurdo's not only size but skill

Other Questions: This is a set-up sport fight, and there's lots of betting going on, so it is ostensibly a fair fight. But the audience's reaction after Holmes' victory makes one wonder whether his superior ninja skills weren't considered fair in Victorian England. One doesn't know if this is an underground fight club or if it's okay with the law that this is going on. This scene establishes Holmes as a skilled boxer, as he is in the old stories, and it lands rather early on in the movie so it's more establishing character for the viewer than anything else. The fight itself brings more clues to Holmes as he sees Adler there in the crowd, though that's not why he's there in the first place.
I chose this scene because I'm a giant Sherlock Holmes nerd, and as much as I adore several of the TV/film adaptations of the old stories, none have quite gotten Holmes' fighting prowess quite right, whereas the Downey jr. Holmes pretty much centers around an action-flick version of the detective. I like it especially because not only do we get a glimpse into Sherlock Holmes' incredible brain in the midst of a fight, but it's a pretty authentic (though expressionistic) showcase of fight styles from England back then. ~Prof. Jenn

How We See Stage Combat

The supplemental reading for class today was interesting to go through, and I enjoyed all of the information put forward.  "Three Rules for Warriorship" was something I hadn't really thought about before.  It makes sense that simplicity would rule when it comes to being on stage with a live audience -- you don't want to confuse the audience, or truly scare them, but you of course want to carry out the fight scene dictated in your play.  You just want to get the basics across, and make sure that you know what you're doing, why you're doing it, and how it looks to the audience following the scene.  It makes sense to continue thinking about objectives and tactics even in a fight scene while acting -- there should always be purpose behind your movements.

"Ne'er the Twain..." was very interesting, especially given that I have no real background in any form of combat, and only limited experience in stage combat.  It would make a lot of sense to me that both real fighting and stage combat could compliment each other, but I could also see why there would be such a disparity of opinions if you are only trained in one and have only ever thought about your approach to the issue.  I especially liked when Tony Wolf explained that, "It is as illogical for a fighter to criticize a staged combat on technical grounds as it is for an actor to criticize a sparring match on aesthetic grounds."  That makes it so simple to understand why both would perhaps groan at the other, but also why neither has the place to really do so.  He does mention that he believes cross-training would probably not be as informative or helpful as it could be if you jump into one study before you're fully proficient in the other -- but I wonder if that would be the same if someone were to begin their learning in both studies at the same time, and attempt to move at a similar pace?  I'm not sure that this would be efficient, and I suppose that someone could very well get confused while doing this, but it was something I thought while reading...

"Observations on Film..." was awesome to read.  Jackie Chan is awesome, that's just the way it is.  I have to say, I had really only noticed those discrepancies in passing, and haven't watched quite enough action films with hand-to-hand combat to really notice all of these things.  But it was very cool the way that David Bordwell broke down each scene and picked apart the filming techniques used in each.  I will say that it would be way cooler to see everything that happens in a fight scene, rather than it being a confusing mess of blurred bodies.  I've been plenty confused watching some scenes in movies these days, even to the point of asking, "But how... how did he win that fight?  What?!"  That's always frustrating.  I don't want my hero/heroine to win by default, I want to know what happened!  Luck happens, and it's exciting when it does, but I'd still like to know how it happened, or how else s/he fought off the attacker.  I'm all for getting back to clearer cuts in fight scenes.  Jackie for the win.

I look forward, as always, to reading more and practicing more!  Have a safe weekend, Coloradoans~

- Chesney O

(PS - My Fight Clip Club #0 post will be coming either later today, or over the weekend -- I believe it will be a separate post from this one, rather than both being wrapped into one.)

Homework Blogging Doubleshot

Reading Responses
Drawn C.Harbour 2013
The three rules of warriorship are basically about remaining mindful as an actor during stage combat and remaining mindful as a storyteller when choreographing a fight. This is easier to forget or overlook thn one might think, because some redundant actions can be really cool (such as Keanu's run up the wall in the clip Professor Jenn posted earlier) but even stunning moves can be detrimental to the fight's validity as a whole.

Ne'er The Twain goes over the nuances of stage combat and martial arts. While the latter may inspire the former, the former does not reenact accurately, nor does it have to. I hope somebody set the unwitting girl who said her stage combat class made her feel "safe" straight, it would be unfortunate if her impudence was discovered in practice. I find myself falling into "the technician's perspective" constantly, particularly whenever anyone in a TV show/movie has a gun and no sense of trigger discipline (see: that clip from Firefly). With minute details such as that, it's up to the audience to have some suspension of disbelief .

Observations On Film Art inspects two fields of conflict direction, complete clarity of movement or purposeful obfuscation of movement. I think both are legitimate approaches. Obviously, for swashbuckling and humor scenes you need complete clarity because it sets the lighthearted mood of the casual observer. Muddled shots are serious, they draw an audience in to the action, and if executed well convey the danger and confusion a character undergoes, you'll observe this in sound editing as well, when a character gets clocked in the head and suddenly the movie is completely silent but for a "ringing ear" sound effect. It's part of a modern notion of film wherein a character's state is applied  to the viewer.

Fight Clip Club
Start at 00:40:00 for my specific fight scene, then go to 0:00:00 and watch the whole thing


This is an expressionistic fight scene that wavers from swashbuckling to comedic, it's not the most realistic scene in cinematic history. There are several moments where two characters are grappling and holding nearly still as punching sound effects play.
Big Lee's objective is to defeat all three siblings in order to marry Ming and collect a reward, as a tactician he attempts to meet these ends by absorbing all chest blows unflinchingly and using his considerable size to toss other characters about. His first meaningful obstacle is his shirt, 
.GIFs made by C. Harbour 2013
Once he rights himself, he comes across his shirt again, and loses the fight.
.GIFs made by C. Harbour 2013
You can see why he chose to fight without it in the first place, it is his one greatest weakness.
In the story, it's one of the few showcases of strange suitors come to win Ming. He was winning the fight due to a superhuman ability to feel nothing and not absorb the kinetic effects of punches. The shirt was a bit of a dirty trick, but the good guys of Two Wondrous Tigers relish in the use of strange props (bird cages, chestnuts, water troughs, anything in reach). Fights between Big Lee and other irrelevant goons are meant to illustrate the martial skill of Ming's family.

Being a low budget no-name old school kung-fu flick, there were no stunt doubles used, all actors did their own work.
Sharon Yeung Pan-Pan- Ming (in the violet)
Kitty Meng Chui- Ming's sister (in the red&white)
Charlie Chan Yiu-Lam-Ming's brother (in the navy)
Tiger Yang Cheng-Wu- Big Lee (shirtless, mustache)

Lastly, this isn't a good example, it's a terrible example from an awful movie that I love. The only well-acted blows on the part of the "victim" are from the shirt bits, which suggests to me that Yiu-Lam actually did kick Cheng-Wu while he was trapped in his jacket.

Breaking Dawn Part 2: The Battle

Okay, given the opportunity to do this, I HAD to!


If the embedded video doesn't show up, here is a link! 

Despite the teeth on the werewolves, the seemingly powerless vampire mind tricks/ powers, and ocassionally using Kristen Stewart as a weapon, this scene is an unarmed fight, and ridiculous one at that. 

1. However, we can appreciate that this scene is very expressionistic and dramatic, even though we view it as comedic :)

2. The objective of this scene is to convince the Volturi (head of all things being vampire) that Edward and Bella's child is indeed, half immortal versus just being a human baby, and then being turned into a vampire. Why the Volturi cares is because mortal children that are turned immortal are extremely dangerous...of course.

The obstacle is the Volturi and their unwillingness to accept the situation. They are known for diving into things head first without really thinking or hearing the other side first. 

The tactics for getting around this obstacle of course is to send the half mortal child away on a werewolf's back in the middle of the woods, and to then abolish the Volturi and their controlling ways for good. Sounds like an excellent plan.

3. The fight scene takes place at the very end of the story. The characters resort to violence because it took them this wrong to realize that the Volturi is a vampiric dictatorship, but in reality of the actual storyline, they were trying to hold off this fight for a very long time because they knew it would end up this bad, and they didn't want to create conflict. Alice gave them the que to start a fight by kicking Aro in the head, which is a wonderful way to problem solve. In my opinion the characters aren't justified for this fight, and the fight ends with Edward being killed (but this clip doesn't show that), but finally Aro snaps back to real life in the end and we realize that the whole fight was a vision of what could happen if they decided to resort to violence and not actually see for themselves that half mortal child was in fact half mortal. So in the end, everyone is happy.

4. There were quite a few stunt doubles doing this fight. Obviously Robert Pattinson won't be going out of his way to act out his own. There is a huge list of stunt doubles that worked this particular movie, some stars even had multiple stunt doubles. For example, Kristen Stewart had Kiralee Hayashi, and Marny Eng as stunt doubles. Ashley Greene (Alice) had Atlin Mitchell and Bridgette Riley. For a full list of the stunt doubles on this movie, here is a link! 


5. I chose this scene, not only because it is humorous to some of us, but because I feel like it displays the concept of expressionistic fighting. It does that to the extreme cases in my opinion, but it is an example :D I also feel that it incorporates some abstract dance like moves as well even. Now we can find the humor in this scene because of how ridiculous the whole situation is, but the point of the scene in the movie was to make things interesting. They didn't have to show this scene because in the book it says that Aro sees Alice's vision, but it doesn't say why the Volturi decides to leave. If this scene seems comedic when it isn't really supposed to be, then the fault is with the acting in general. It is all a matter of opinion!

I hope I have enlightened you today!
-Tatum R. 

Fight Clip Club #0

Here's your activity I'd like you to accomplish on our Rain Day:


  1. Choose an unarmed fight scene from a movie or play that you particularly enjoy watching. It can be any style, as long as no weapons are used. 
  2. Find a recording of the scene to embed in your post (if you can't find an embeddable version, a link or still image will do).
  3. Create a blog post analyzing this scene. Your post will include the following:
    1. what style/genre it is from the two-columned guide found here or here
    2. the Three Rules for Actors (physical Objective, Tactics, Obstacles)
    3. where does the fight scene land within the overall story arc? Why do the characters resort to violence? Are they justified? Is it a fair fight? Who wins/loses and what does that mean for the character's journey in the rest of the story?
    4. if a film scene: are there stunt doubles doing this scene, or parts of it? What are their names? 
    5. Lastly, discuss why you chose this particular scene as a good example of unarmed stage combat.
  4. Please have your posts up before the weekend is over (by Sunday midnight).
  5. Before our next class meets, post at least one thoughtful, one-paragraph comment to another student's Fight Clip Club #0 post.
I will be posting an exemplar of this activity later today. Have fun, and stay dry! ~Jenn
Sherlock Holmes engages in fisticuffs












Thursday, September 12, 2013

Ok, so here is my first post, I know it is really late. I just really suck at this. So here goes nothing.

As for chapters 1-4 I found them enlightening for stage combat, as I had learned some very basic stage combat at my previous college. I have found this to elaborate on it even more. I find the step by step instructions helpful, but they cant replace the real thing and i find myself feeling limited by just reading and not actually practicing them on a partner. Chapter 1 and 2 i found to be mostly review from my previous class as both movement awareness and actor safety were a high focus in my class. Chapter 3 was all new to me i had never thought martial arts (or in this case taihenjutsu) could be helpful in stage combat as it is. Chapter 4 i have found to be especially helpful as a reference point, to go back to, for my unarmed fight. I personally found all these chapters to be quite interesting in that they continue to broaden my understanding of stage combat.

Now for the Homework,
The three rules are simple, but important because without them a fight scene will look stupid plain and simple. I found myself agreeing with the Observations on film art more than i thought i would, It is true that most fight scenes in movies today have become muddy and not very clear. I think this has to do with them trying to keep actors safe. But as you see with Jackie Chan you can do stage combat and not get hurt.
Third link would not load properly for me.

As for a picture: When Jackie Chan watched Expendables
daf7beae_jackie-chan-wtf-meme.jpeg

http://0x10cforum.com/forum/m/4932880/viewthread/3245562-meme-war/page/15

Gordon Moon
(Zeeo88)

Sunday, September 8, 2013

Stage Combat etc.

For this week, we had to read three articles that were posted on this blog. (IF you are not in the class and you are avidly following my blog posts about stage combat on this site, I highly recommend reading these articles. If you are in the class, and if you're even reading this post, I think we can all agree that these articles were interesting and educational to say the least!) As learner of stage combat, I felt that each article helped to shape my knowledge of the subject that already exists, it expanded. These articles also served for entertainment purposes as I am always curious in learning more about anything theatre!

The first article was about the "Three rules for warriorship" by Jenn Zuko. These rules of warriorship are the three rules for acting, objective, tactics, and obstacles. The article talked about how these applied to martial arts as well. A quote from Mamet said that as long as the protagonist wants something, the audience wants to see that this gets achieved. The way these three rules were tied into the end, was to explain how easy it is to fall into the trap of wanting to look "cool" as Jenn put it. We as actors, and even as fighters have to think of the objective; what we want in a scene or a fight. In order to achieve the objective, we need to think of the proper ways to help execute it. In other words instead of choosing tactics that look fancy, we choose tactics that will help us to succeed our obstacle. These rules are a great thing to know about because it does not just apply to acting, these rules can be applied in real life in more situations than one.

The next article was about martial arts vs. stage combat. This article was very fascinating to read because I can only imagine the long standing comparison/ rivalry between stage combat and martial arts. The article cleared up misconceptions about each of them, and it also explained how each is respectable in its own way. It had said that as a fighter, you can't judge stage combat for realism, and as an actor, you can't judge fighting for its "aesthetic grounds" as the article put it. I was glad this was mentioned because I was thinking the very thing when I was beginning to read the article. Where there may be similarities between the two, no one is better than the other. Stage combat is for entertainment, and fighting is for self defense and matches. With that said, I really encourage anyone who is into fighting or stage combat to read through this article if they don't already know.

The last article was about fight scenes in movies. I am so glad that I am not the only one out there who feels that fight scenes in movies are pointless sometimes. If you can't see what is happening, what is the purpose? I understand the reasons for cutting out certain parts of a fight and leaving somethings to the imagination for the purpose of ratings. However, I still think that the fight should be seen so, we as spectators, can experience the action! I love the Hong Kong way of fight scenes. Making the picture and movement clear makes the fight scene more engaging. This is also very applicable to stage combat as we want to be sure to make emphasis on every move so the audience can experience a clear fight!

Fight scene Shaffron returns:

I love Firefly! I have only seen a few episodes when I would sit in on a sci-fi class in high school, but the few episodes I saw made me fall in love! (If only I had netflix *sigh of despair*) Anyways, this was an episode I haven't scene so I wasn't sure what exactly was going on as far as plot. However, as far as fighting goes I would consider the fight to be expressionistic maybe swashbuckling? (I'm not too sure about that one!) The reason I say expressionistic is because it was neither too dramatic or comedic and the moves were very over emphasized that made it look a little less realistic yet still you felt the pain in the fight.

Picture for today's blog:
(I am running out of ideas here!)

http://25.media.tumblr.com/tumblr_mdnfxrTgS51qju9nmo1_500.gif

I have chosen this gif for humor of course, but also because anyone who was/is a fan of Twilight stuck the movie series out for the fight scene in the last movie. Extremely expressionistic I would have to say, but if you have seen this movie, the fight scene is actually clear! Here we see Edward throwing Bella into Aro's face. There are no misconceptions there!

I hope I have enlightened you today
-Tatum R.

The Homework I Promised You

Please to read the following articles and do one (1) reading response on the lot:

Three Rules For Warriorship

Ne'er The Twain: Martial Arts vs. Stage Combat

Observations on Film Art

Also check out the following shot breakdown of a famous unarmed fight scene.

And, for fun:
If you have trouble with the embedded video, here.

Friday, September 6, 2013

How to not hit your partner in the face

Generally, I can't quite comprehend all of the written instructions of an exercise without first seeing it in motion. This is where the "use as a tool with your classes" comes into play for me.

Being familiar with a few of the techniques already, it was a nice refresher to have the guided step-by-step instructionson not causing bodily harm, but still punch at your partner. Or knee them in the stomach. Or kick them in the side. Being unfamiliar with the kicks and kneeing techniques, I'd be lying if I said I wasn't tickled to be trying those out soon, but seeing the techniques done in proper time, slowed down, from different angles, for me at least, is vital before I'd run out and try these on someone.

In seeing just how many techniques there are, and variations of each, I'm almost a little intimidated, and can only hope I get sufficient time to practise them and get them into  some muscle memory bank so as not to a) forget and b) underestimate timing or a sneeze and punch my partner in the face. This being a section of definitely not actually doing the latter, my fingers are firmly crossed. I'm also a might bit worried aboturt accidents, as even in the few practises I've had, a fist got too close to someone's ear, and Ifelt wretched my off-hand would betray me so. I saw in that little bit what being prematurely excited can do, and despite not making contact beyond a brush of the hair, I was terrified. Practise, practise, practise.

Also being face shy, it'll take a bit not to recoil violently at a fist coming anywhere near my head or body in general. not that's a terribly abnormal reaction to have, but it's still something to get used to.


Falls, Movement, and Unarmed Combat~

I was very interested to read up on these sections after practicing some in class, and in preparation for class learning of unarmed combat.  I've done very little in the way of unarmed combat -- we had a small section on it when I was in a high school class, but it was brief, and I honestly never felt very good about what I learned.  I wasn't necessarily surprised at much of the information, but I was impressed with just how many variations there are of different 'attacks'.

Honestly, I will need more practice with a number of the rolls we practiced in class, and I will definitely need to see and feel all unarmed approaches in person -- I do so much better learning physical things in the classroom as opposed to just reading about what my body should be doing on a page.  I often get confused or unsure when I read about what my body should be doing, so it will be spectacular to practice all of these exercises in class!

I'll be very interested to feel how all of this will, and to practice in the upcoming weeks.  I always feel a little awkward when even just jokingly 'throwing a punch' in slow-motion at a friend who also knows a bit of stage combat and can react a bit, so I'm hoping that practice will make me feel a bit more comfortable about my technique, if nothing else.  I also really think I should try and find a punching bag I can have access to, and get a feel for what it feels like to really punch something.  I've done it before, but it was long ago, and I don't remember the feeling well.  This is where some self defense and general knowledge of fighting would come in handy, but unfortunately I don't know much about that.

Below is a picture of what I assume I may look like when I do finally find a punching bag.  :']

- Chesney O

[Source: http://www.livestrong.com/article/530244-what-muscles-does-an-exercise-punching-bag-work/ ]

Thursday, September 5, 2013

Body Movement

After reading Chapter 3, and 4 of our Stage Combat test book I was pleased to see that it strongly encourages stretching before any physical training or practice. I made the mistake of doing martial arts classes without stretching and resulted in pulling several muscles and becoming very sore for many days afterward. I did think the precautions for many of the rolls and falling was perhaps much but I come from a background martial arts which doesn't always put safety first tho I can agree that its always good to take as many safety precautions as you can. 

I was surprised that the book uses the "hang loose" distance method when doing slaps, punches, ect... Because I had used the same thing when doing many techniques in martial arts and when doing performances with other people. Tho I think you could go closer to make it more realistic but I see the value of doing it that way. I also found the way the slaps, kicks, and punches were done was pretty close to getting actually hit if done right.

Finally in my professional viewpoint the way the rolls, falls, slaps, kicks, punches, and pushes can, if done correctly, look very real almost like the real thing. I agree with a lot of the ways many of them are done but think some of them have to many safety precautions on them such as the rolls and falls but that is because I come from a background in which we didn't do those precautions and were fine. But I can see why they are there.





Another great martial artist

Tuesday, September 3, 2013

"Strict formality: The hinderer of spontaneous mental fluidity."




After learning the importance of safety as well as spatial and movement awareness, I was intrigued to continue moving forward into chapters 3 and 4 of Jenn Zuko's "Stage Combat" book. A lot of the subject material regarding unarmed combat and basic body movement techniques also known as "Taihenjutsu" allowed me to recall my younger years as a gymnast. The intensity of self discipline and work it takes to dedicate yourself to a balanced mental and physical state. In having this state, it allows you the benefit to earn movements that most people will deam, "impossible" or "unimaginable."
 No matter what one does, it takes work! I especially enjoyed and learned greatly from the portion of Chapter 4: Unarmed Combat, regarding proper spacing for any maneuver, as well as what every overworked individual envies: "Knap-Time!" After watching the intro video, it not only makes learning more about stage combat much more fun and exciting. It brought me back to a classic film that I could only dedicate over to one person. My very own brother, I'm pretty sure you are curious of what film I'm speaking about. It is the ever-legendary: "The Karate Kid." Why I bring up my brother isn't necessarily about what we deem mainstream Karate however, He has lived over in Okinawa for over 8 years and has worked with the legendary Uehara Seikichi, who has allowed the palace defense art of Okinawa, Motobo Udundi to carry on. My brother being one of the only people in the world accepted into his dojo is an action that speaks in multitudes about his philosophy of this martial art. No, I'm not a professional fighter. It may seem absurd all this banter, however growing up with him, he has taught me to hold a respect for any defensive art, even if it is stage combat. Hold a high respect for the body and mind as the physical instruments to what will eventually be a beautiful result, earned with hard work.  Eventually hitting your hands against sand bags, its painful but it's strength you build for yourself.

Being free and fluid in moment, and not tight and congested with minute day-by-day issues. Letting go and achieving ultimate growth. This is our time to practice, and learn from when our side rolls look like somersaults and our falls just don't fall quite right. In the long run, with work and proper methods in stretching and caring for our bodies, We will get there.

That is what the ultimate meaning behind my post name means and it is the one of the principles behind the art of Motobo Udundi.

Being that Uehara Seikichi saved Motobo Udundi, simply by being curious and hungry to learn from the Emperor of Okinawa in his younger years. When the Emperor tried to teach his own son, he didn't dedicate himself to the art. Instead, seeing that his palace was to be sieged he gave the highest honors to him and allowed him to train the next generation of royal bodyguards, one within our most recent generation is my brother. Uehara Seikichi passed away a few years back, however his many lessons of hard work and discipline makes him a legend.

 I will keep him mind as I continue to work hard with these new found stage combat skills I will gain.




Monday, September 2, 2013

Stage falls, and rolls, and unarmed combat "Oh my!"

            Though stage combat is designed for safety onstage, I still get very sore when I engage in the activity! Recently we learned falls, rolls, jumps, hops, leaps and other things of that nature. As noted in the book “Stage Combat,” by Jenn Zuko Boughn, the kinds of things that we learn in basic stage combat such as the things I’ve listed above derive from the Japanese word taihenjutsu which basically means “body movement techniques” (Boughn 21). These techniques help to safely engage in stage combat.
            Of course before beginning any physical activity, you should always warm-up. There were a lot of exercises that would help you better to prepare for falls, rolls, jumps etc. A lot of the stretches involve working the core and strength. The pike exercise is something that I remember doing in cross country all the time as a part of core strength. Some yoga exercises were listed in the book as well. Yoga is a great way to strengthen all muscles of the body while also warming them up at the same time.
            In class the other day, we learned several kinds of falls, front, back, side, and Captain Kirk. There are two rules that we have to follow while falling (which make perfect sense). Rule 1, getting low to the ground first. Rule 2, putting your meat on the ground, not your bones. Another thing that I also learned about each fall is that you must be able to reverse the effect and be in complete control otherwise you are truly falling. I never would have thought how hard it would it would be to have complete control of my weight the whole time, but it is for safety, and no matter how hard it is it is important to learn. Rolls we have to apply the same kind of techniques of being in control and knowing what parts of our body to lay on the ground first!
            With the minimal experience of stage combat that I have had, unarmed combat is my favorite! I always thought it was so cool to stage a fight and make it look so realistic. I was definitely one of those kids that felt all cool for knowing how to do a stage slap. However, in the section of unarmed stage combat, I learned different (safer) ways of doing slaps, punches, hair pulls etc. Obviously it’s good to read about how to do unarmed stage combat to make sure you are doing it the right way. I learned several things in this section that I did not know about in the past.
The Fight is the Story Presentation:
            I liked how one of the very first things mentioned were the three rules for acting. Sometimes it’s easy to forget that these rules apply to stage combat too! In the end it is all acting and it is crucial for each character to have an objective, tactic, and obstacle for a scene to thrive. I was also very entertained by the many fight videos I got to watch, some I was familiar with, others were new that were equally entertaining an educational. I also liked learning about the different kinds of fight scenes. In my head only two existed (comedic and dramatic), I learned that there are more than just those two, there is also realistic, expressionistic, abstract, and of course swashbuckling. Abstract fighting has my interest the most simply because it is out of the norm, symbolic and dance like. I think it would be a fun fight style to explore. This is a very good resource to start learning about the purpose of fights and what needs to be portrayed through them to the audience as well as learn about different styles.
Picture for Today’s Blog:

Today, I have chosen a picture from the Wizard of Oz quoting the moment in the movie where Dorothy, Toto, Scarecrow, and Tin man are walking through the forest expecting to encounter lions and tigers and bears… “Oh my!” I have chosen this image not only because I have made a spin off title for this blog post, not even because it is one of my favorite childhood musicals, and not even because sometimes I like to think I’m Judy Garland in present day. I chose this picture because in this part of the movie, it is an overwhelming scary time for them. I have chosen the title of the blog post to be a spin-off of this part in the movie because at this point when I learned all of these rolls and falls, and some basic unarmed stage combat skills, I am overwhelmed with how much there is! There is a lot to remember, and my friends, I am here to tell you, it will be so much fun!

I hope I have enlightened you today!

Picture from the movie The Wizard of Oz
The Wizard of Oz. Dir. Fleming, Victor. MGM. 1939. Film.

The Essentials of Stage Combat - Be Prepared

After reading the first two chapters of the book, I have come to the realization that it is necessary to be trained by professionals in the art of stage combat. There have been too many examples of people that have been hurt due to the lack of knowledge and training in the arts. Many actors/actresses these days do not perform their own starts for a reason; they do not want to get hurt. Stage combat is a very dangerous art and requires a lot of practice. I personally believe that if a person can master the art of stage combat they will be set in achieving all of their future acting goals. I look forward to learning more in this class throughout the semester.







 "Yahoo! Search - Images." Yahoo! Search - Images. Jdkickboxing, 2012. Web. 02 Sept. 2013.