We regard Stage Fencing as an integral and culminating component of Stage Movement education for the actor. However, it should be undertaken only after foundational training in Essential Stage Movement, acrobatics, stage falls, unarmed stage combat, and period movement, as well as moderate exposure to various dance styles.
We strongly believe that only after an actor has developed essential psycho-physical abilities can they effectively master the complex—at times even dangerous—and highly stylized techniques of Stage Fencing within the limited timeframe of a single academic semester. Without this prior preparation, such training risks being inefficient or unsafe.
We also maintain that extending Stage Fencing instruction over a longer period is impractical, as the work may become repetitive and lose its pedagogical effectiveness. Once the actor has mastered our unified fencing techniques, these skills can be readily adapted—with minor stylistic modifications—to a wide range of historical periods and weapon systems encountered in professional stage practice.