We regard the subject of Stage Fencing as an integral and completing part of stage movement education for the actor. Essential stage movement, acrobatics, and stage falls, unarmed stage combat, and period movement—not to mention moderate doses of various dance styles—should precede it, however. We strongly believe, that only after the actor develops essential psycho-physical abilities, would he or she be able to master quite complicated, at times even dangerous, and highly stylized techniques of stage fencing in a short time as one school semester. We also believe that a more lasting time for this subject is not practical, as the process might become tedious. Moreover, by once learning our unified techniques, the actor could use them, slightly modified, for a variety of periods and weapons in their future work on stage.