exciting and demanding fight sequences, so there's a trend to speed up theatrical fights.

"Most full-time drama courses have stage combat as part of their curriculum. There are a few where it is offered as a voluntary extra class, but a high proportion of students do take up the option. The skills acquired in stage combat have a usefulness beyond being able to throw a punch or swing a sword - students benefit from increased physical and mental agility, focus, balance, self-awareness and confidence, and the high level of partnership required helps develop communication, cooperation and teamwork skills."

"It's a sliding scale really. If they're looking for someone to play a major lead role which involves some fighting skills, they are really going to be looking for the most suitable actor, regardless of stage combat skills. At the other end of the scale are the roles when the character's principal activity is fighting, and so a CV showing those skills carries more weight in the casting process. Remember that both theatre and film are generally run as a business - so time is money. If you already have fighting skills it means the Fight Director can spend less time going through the basics and devote what time s/he has to creating a better fight."

"A typical class will involve a physical warm-up, followed by the instructor demonstrating a technique and explaining how to ensure both partners remain safe (note, we always use the word 'partners', as effective stage combat relies on the partnership between combatants). Then we look at how to make the illusion work for the audience. Once these elements are clearly understood, the partners practise the technique, starting slowly and carefully and building up to performance speed as they become more familiar with it. As more techniques are acquired, we can start to build these into a fight sequence. Note that these physical techniques are never improvised, but always worked out carefully to the last detail."

"In any kind of violence portrayed on stage or screen, it's vital is to keep the actors (and the audience) safe, so every technique we perform has a fundamental safety principle. Of course we need to maintain the illusion that real violence is happening, but a simple, real slap in the face could potentially cause serious damage to an actor's eyes, nose, ears or jaw. Whatever the demands of the action - whether it's slapstick comedy, gritty domestic violence or flashy swordplay - the first consideration is always safety."

"The basic training leads to the BASSC Actor/Combatant Certificate, which is gained by performing a scene involving a fight between two characters. This initial Fight Performance Test (FPT) is taken in Rapier & Dagger and Unarmed Combat, as this ensures the performers have a good grounding in the most essential principles of both unarmed combat and swordplay. This qualification is recognised throughout the industry. Once these basic skills are obtained, you can go on to learn different weapon styles, such as mediaeval Two-handed Broadsword, Sword and Shield, Quarterstaff, 18th Century Smallsword, Single Rapier (usually done in a "swashbuckling" or "Hollywood" style), and Knife.

Intermediate and Advanced Certificates can be gained by taking performance tests in these additional weapon styles and raising the skill levels in technique and performance.

We also have a Junior Grade Award, aimed at 14-18 year olds, comprising a shorter syllabus of Unarmed and Single Rapier."