Core Principle
Large-scale fights are constructed first as a sequence of clear, resolved frames connected by controlled transitions.
The specific mechanics of the fight—the strikes, thrusts, parries, grabs, and throws—are then developed within that structure.
Component Vocabulary (Fixed Terms)
Fight Score — the complete document
Frame — a static, resolved stage picture (A, B, C…)
Transition — movement between frames (arrows)
Track — one actor’s path through all frames
Engagement — who is fighting whom in a frame
Payoff — the action that resolves the engagement
Techniques – the individual fight moves
Supporting:
Lane — open path of travel
Cluster — grouping of actors
Anchor Point — fixed scenic reference (stairs, platform, etc.)
Entry / Exit Vector — direction of arrival and departure
Teaching Sequence (This is the Discipline)
Step 1 — Build the Ground Plan
Clean overhead layout
Include at least one vertical element (stairs, platform)
Keep the space readable
Step 2 — Create Frames
Place all actors (pennies)
Each frame must represent:
a clear engagement
a clear stage picture
Label alphabetically
Step 3 — Define Transitions
Add arrows showing where each actor came from
No techniques yet
Solve:
traffic conflicts
spacing
crossings
Step 4 — Establish Tracks
Follow each actor across frames
Confirm:
no collisions
continuous flow
no accidental isolation
Step 5 — Rehearse Geography
Actors learn Frames only
Call letters:
“A → B → C”
No acting, no fighting
Solve all traffic problems here
Step 6 — Layer Payoffs
Add the action that resolves each frame
One frame at a time:
“This is the payoff for C”
Now techniques appear, but only at endpoints
Step 7 — Integrate
Run full sequence:
Frame → Transition → Payoff → Frame
Adjust pacing and emphasis
What This System Prevents
Continuous, unreadable motion
Accidental collisions
Isolated “duels” inside a crowd
Choreography built without spatial logic
The loss of the story.
What It Produces
Clear stage pictures
Controlled traffic
Repeatable structure
Narrative flow
Scalable fights (6 actors or 30)
Key Teaching Insight
This is the line that should sit at the top of the page:
The audience does not see movement.
The audience sees moments.
Movement exists only to connect them.
Optional Naming for Distribution
If presented to actors or students:
Fight Score Packet
Frames A–H with Transition Paths and Payoff Points