Activity 2: Stage Combat
Since Lazzi also uses a variety of trips, falls, slaps, and sword fights, this is a good place to teach some basic
stage combat. All students should be dressed for easy movement (no dresses, sandals, heels, tight jeans,
etc). Remove all jewelry and empty pockets.
It is important to stress SAFETY FIRST at all times. This is not an opportunity to fool around. Students need
to listen to and follow all instructions carefully. If at any time a student does not feel comfortable with an
exercise, they do not have to participate, but must observe (it’s not an opportunity to get on their phone).
Additionally, there are several videos on youtube that demonstrate these techniques if you do not feel
comfortable teaching them. The following exercises are very basic. I would consult a certified stage combat
instructor to teach advanced techniques.
Begin with stretching and warm ups so the body is ready to move, then move through each of the
techniques one at a time, making sure students are comfortable with it before moving on to the next one. If
this activity takes several days, make sure to stretch and warm up before beginning each day. Students
should partner up and work with a partner on each technique. If it is an individual technique, partners take
turns “spotting” each other for safety.
Always work in slow motion at first. Teacher will repeat each technique several times, starting at quarterspeed, then moving to half-speed, then three-quarter speed and finally full speed. Whenever an actor is in a
production that requires stage combat, they are given a “fight call” for all actors involved to practice the
combat each and every night of the performance, even if they have already done it a hundred times. Each
fight call takes the fight through each of these speeds until the actors feel comfortable. Students need to
keep in mind that this is a PERFORMANCE, not a sport, so each fight, no matter how big or small is
choreographed and rehearsed many many times.
Falls
When falling, always keep limbs ready and bent at joints. Falls cannot be absorbed well when limbs are rigid
or flailing
Side Fall:
• Like all falls, a side fall requires control and flexibility
• contact is made in the following order: knee, hip, wrist, elbow, shoulder, back, head.
• The fall should be controlled and cushioned by each point of contact
• The mat should be used to cushion the fall until the technique is perfected.
Rear Fall and Roll:
• Contact is made in the following order: hands, elbows, shoulders (with head tucked to one side), knees,
feet. The fall occurs directly back, with the hands breaking the fall
• The momentum of the fall is used, as the actor reclines, to tuck and do a backwards shoulder roll
• The fall should be controlled and cushioned by each point of contact
• The mat should be used to cushion the fall until the technique is perfected.
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Front Fall:
• Practicing the fall should be started on the knees
• Fall forwards, and use your hands to catch you and lower you to the floor (like a push-up). To protect your
hands, make sure you are controlling the fall with your legs.
• Be sure wrists and elbows are bent
• Keep practicing from increasing heights: squat, crouch, standing
• Substantial upper body strength is required for a standing front fall
• The mat should be used to cushion the fall until the technique is perfected.
The Drop to the Knees :
 This technique will safely allow the combatant to go tot the floor without damaging the knees.
 Let the body relax.
 Open up the stance.
 Bend the knees, at the same time counter-balancing the upper body backward. Controlling your weight,
place one knee to the floor (either one) followed by the other one.
 Don’t hit the floor with any speed or energy.
 Exhale when you “hit” the floor.
Attacks
ALWAYS keep in mind that the victim of the attack is IN CONTROL at all times. This is how these moves are
kept safe for the actors. Remember, that these are acting exercises, so the more the actor “plays up” the
attack with verbal responses and facial expressions, the more real it will seem.
The Wrist Grab with Release
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Don’t use “real” force to grab the wrist, but isolate the tension isometrically to create the illusion of
force.
To break the hold, the victim simply pulls sharply toward the thumb of the attacker, twisting to the right
or left.
The attacker allows the grip to be broken.
Be careful that the victim doesn’t hit themselves in the face with his or her own hand when breaking the
grip.
The Hair Pull
 Attacker creates a closed fist and places on top or side of victim’s head—do not grab the hair.
 Victim grabs the wrist of the attacker and guides the movement of the hair pull.
 Victim and attacker must agree in which direction they will be moving.
 Try practicing with a side fall.
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The Arm Lock Behind the Back
 This is a controlling move.
 The attacker grabs the right wrist with the right hand.
 The victim “locks” the hand into his or her own wrist with the left hand.
 The victim prepares slightly to the right, and then sweeps 360° to the left.
 The attacker (not the victim of the arm lock) turns 180° to the left and puts the arm behind their own
back. Don’t pull the arm too high up the back, or put pressure on any joints.
 The victim must control the speed and “force” of the turn and the arm lock.
 The attacker puts the left hand on the victim’s left shoulder for support, and to help prevent the victim’s
head from banging into the attacker’s face.
 Practice alone by turning and putting your own arm behind your back as you do, then add the attacker.
The Clothes Grab with Release
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Begin by grabbing the lapels of the partner’s clothes. It helps if your partner is wearing loose, heavy
clothing such as a sweatshirt.
Victims should grab both of the attacker’s wrists, and pull down to stabilize the partners, and prevent the
attacker’s hands from impacting the victim’s neck area.
This can also be performed with a one hand grab, the victim using one, or two hands on the attacker’s
wrist.
Make sure the victim controls any shaking motion, or changing of ground once the grip is established.
Be careful not to bang heads together.
Movement should be side to side for safety, not forward and back as this threatens the head and face.
To break the hold, the victim releases the wrists and brings both arms through the middle.
The attacker must give way to complete the illusion.
Don’t strike the partner with the fist on the chin as you break the hold.
Don’t lean together as the “break” occurs, as this threatens the head and face.
The Strangle Hold:
 As this is a contact technique, approach it carefully.
 The strangle hold has the illusion of pressure to the neck.
 Always bring the hands to the neck from left and right, never straight in, as this threatens the larynx.
 Interlace the thumbs 3 inches out from of the larynx.
 The victim grabs the wrists of the attacker, and then places the chin over the thumbs.
 Finally, reverse the energy of the strangle for safety.
 The victim pulls toward the neck. The attacker pulls away from the neck.
 Work to equalize the energy of the strangle hold.
 Once the strangle is established, partners may move around. Make sure that the movement is staged.
Examples might include: victim going to one knee, victim turning 180 degrees, victim backing into a wall.
 The victim must control the movement; the attacker follows, giving the illusion of control.
 To break the strangle hold, release grip on wrists, and bring hands through the middle. Attacker releases
the hold.
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Hitting
The Slap:
• A slap is rehearsed slowly, and the hand just misses contact with face by 5 cm. If a partner failed to turn his
or her head, the slap would make contact.
• Attacker lifts hand up and back
• Swing at a consistent height and direction in slow movements, while the victim turns face to follow the
movement.
• Victim can slap upstage leg with hand to create the sound effect.
• Attacker can also try making contact with victim’s upstage hand for sound effect.
The Punch:
• Leave a large space between the combatants so the aggressor can step into the blow
• The attacker takes one step forward and swings across the chin with the fist, making sure there is about
5 cm of space between the fist and the victim’s chin.
• Attacker swings at a consistent height and direction in slow movements, while the partner turn his or her
face to follow the movement
• Victim uses facial expressions and vocal grunts to indicate that there has been contact.
• this is repeated many times until perfected, then speed is gradually increased
The Stomach Punch :
 This punch never touches the victim at all.
 Line up with your right shoulders in line, the attacker facing downstage and the victim facing upstage.
 Make sure that your heads aren’t exactly lined up, so the audience can see the attacker’s face.
 This is a safety precaution so that the victim may react without threatening the attacker’s head.
 This punch is performed in a 1, 2, 3 rhythm
1. Establish eye contact and check distance.
2. Cue by winding the arm back, down, and sideways.
3. The arm comes forward, stopping 6 – 8 inches from the victim’s stomach, coupled with a strong
vocal reaction and a doubling over from the victim.
 Keep the hands clear of the target.
 The victim must remember to give a big exhalation of breath to the reaction, and to never threaten the
attacker’s head by bending toward them during the reaction to the punch.
Knee in the stomach:
• The attacker places both hands on the shoulders of the victim
• The attacker lifts a knee slowly as the victim pulls their hands in front of the stomach to catch the knee
• The victim uses the hold on the knee to push up and then back as the attacker lets go of the shoulders
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The Uppercut Punch :
 This punch is designed to look as if the fist is meeting the point of the chin, forcing the head upward. It is
always a non-contact punch.
 This punch is performed with increased fighting distance.
 A safe distance from fist to face is 10 to 12 inches or more.
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The Uppercut is performed in a 1, 2, 3 rhythm:
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1. Establish eye contact, and check fighting distance.
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2. Cue by winding up, with the arm moving down, backward, and to the side.
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3. Follow through on the diagonal, with a simultaneous clap knap, and head/body reaction.
 Never snap the head back too forcefully on the reaction, this may injure you.
 Line up upstage/downstage to perform this punch. The audience should see the attacker over the victim’s
left shoulder when performing a right uppercut punch.
 Keep the arm bent at the elbow and don’t perform any punch with a rigidly straight arm.
Activity 3: Create Your Own Lazzi
Students will combine the practiced Lazzi with the stage combat and in groups of four create their own Lazzi
for performance. It should be carefully choreographed and rehearsed several times under teacher guidance
prior to the performance. Students should be reminded that SAFETY comes first and they should rehearse
any stage combat in their Lazzi at quarter-speed, half-speed, and three-quarter speed before going full
speed.
Lesson 3: Scenarios
Commedia dell‘arte troupes created specific scenarios involving the stock characters (and others), a
plete plot (beginning, middle and end) with a bit of Lazzi thrown in for good measure.
com-
Activity 1: Performing scenarios
Students are divided into troupes of 12 actors. Each troupe assigns characters to their actors. If there are
“extra” students they can form a smaller troupe or be added to the larger troupe and create additional
characters, based on the stereotypes.
Each troupe is giving a few scenarios to choose from and they choose two scenarios for performance. They
can change and adapt the scenarios to include all members of the troupe. They are given time to stage and
rehearse, but it is primarily an improvisational exercise.
Each troupe performs their scenarios for the class.
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