Variation and Expansion
Rhythmic shifts
Repetition and extension
Directional reversals
Tactical additions (e.g., prises de fer, yielding parries)
Rule
Variation must derive from existing material.
Building Variation From Simple Material
Memorization is less interesting than motivation. Keep the number of memorized routines small.
Begin with a simple, repeatable sequence of seven actions (for example: attack, block, attack, block, block, attack, attack, attack). Pick specific target area for each move – those don’t change. Each actor learns both their own actions and their partner’s, resulting in a shared vocabulary of fourteen moves. Designate each side of the fight as A and B.
This single sequence can be expanded into a longer and more dynamic fight by varying how it is performed:
Rhythmic variation — alter timing (for example, insert a pause after every third action)
Looping patterns — repeat sections (A → B → A → B)
Repetition of individual moves — extend a moment (1, 2, 3, 4, 4, 4, 5, 6, 7)
Short attack exchanges — alternate quickly between two actions (1, 2, 3, 4, 3, 4, 3, 4, 5, 6, 7)
Directional intention — one actor consistently advances while the other retreats (step forward on attacks, step back on defenses)
Reversal of direction — invert that relationship (step forward on defense, step back on attack)
Quality of movement — contrast restrained thrusts or snapping cuts from the wrist or full, committed cuts from the shoulder
Yielding parries — allow the blade to give slightly on contact rather than meeting force with force
Prise de fer — controlled blade engagement (a taking or binding of the opponent’s blade to dominate the line before the next action)
In all cases, the sequence of moves remains the same. What changes is the timing, emphasis, and intention behind them.
The actors already know fourteen moves—their own and their partner’s. Because both actors understand the full sequence, the choreographer is not limited to fixed choreography; the material can be recombined and reshaped freely. To an audience, the fight will not appear repetitive so long as each moment is driven by clear emotional intent.