Prairie Rose Regional Stage Combat Workshop
Questions? Contact Us.
DMACC
Theatre Department
theatre@dmacc.edu
The Prairie Rose regional stage combat workshop at DMACC
October 12 & 13, 2024
DMACC Ankeny Theatre at the Simon Estes School of Fine Arts
Building 5, Black Box Theatre and Conference Center
DMACC Ankeny Theatre is proud to present the first annual Prairie Rose regional stage combat workshop. Expert stage combat instructors from around the nation will be brought to our campus to provide workshops on safety-oriented techniques for violent storytelling. Workshops in all 8 SAFD weapon disciplines for all skill levels will be offered, and seasoned actor-combatants may complete up to 2 Skill Proficiency Renewals adjudicated by Iowa’s very own Fight Master, Brian Byrnes.
Who is this for?
This workshop is perfect for current and aspiring actors, directors, stage managers, and fight directors. Whether you are picking up a sword or throwing a punch for the first time or the thousandth time, we all have something to learn from one another.
How much will it cost?
Cost is $300 per attendee. A 10% reduction in tuition will be offered for SAFD members in good standing. A Buddy discount of 15% will be offered for people registering together. These discounts are not cumulative.
How will I get there, and where will I stay?
Ankeny is located just off I-35. The DMACC Ankeny Campus is at the intersection of Highway 69 and Oralabor Road. Des Moines International Airport is 18 miles from the DMACC campus, a roughly 30 minute drive. Hotels can be found in Ankeny, Des Moines, and other nearby towns.
What will we do?
We will learn to fight on stage and screen! Three classes will be offered at each
session, so there will be plenty of options. Class descriptions will be posted here
as decisions are finalized.
Schedule
Saturday
7:30-8:15 Registration
8:15-8:30 Morning Announcements
8:30-9:00 Warmups
9:10-10:30 Session I SPR I
10:40-12:00 Session II SPR I
12:00-1:30 Lunch SPR Performances
1:30-2:50 Session III
3:00-4:20 Session IV
4:30-5:50 Session V
6:00-6:15 Evening Announcements
Sunday
7:30-8:15 Registration
8:15-8:30 Morning Announcements
8:30-9:00 Warmups
9:10-10:30 Session VI SPR II
10:40-12:00 Session VII SPR II
12:00-1:30 Lunch SPR Performances
1:30-2:50 Session VIII
3:00-4:20 Session IX
4:30-5:50 Session X
6:00-6:15 Evening Announcements
Class Sessions
| Session | Open | Introductory | Wild Card |
| I | Quick Hands Unarmed Jason Tipsword |
Smallsword is Easy! Smallsword Kate Lass |
Intro to German Longsword Longsword Mike Lubke |
| II | Short Form in 3/3 Quarterstaff Rodney Rice |
Disarm or Dat arm? Knife Andrew Rathgeber |
A Better Use for the Guard Sword & Shield D Granke |
| III | Please Try This at Home Singlesword Mike Lubke |
Got No Strings on Me Unarmed Mason Tyler |
Battle Field Fights - aka - Fighting with What You've Got Multiple Weapons Brian Byrnes |
| IV | Whose Line is it Anyway? Rapier & Dagger Andrew Rathgeber |
This is my Boomstick! Quarterstaff Aaron Preusse |
Nerf Knife Knife Christina Traister |
| V | Knife Fight! Knife Brandon Brockshus |
Introduction to Sword & Shield Sword & Shield Amie Root |
Physical Comedy Unarmed D Granke |
| VI | Ringen Am Schwert Longsword D Granke |
Character Spectrums Multiple Weapons Mike Lubke |
Gruesome Theatre Injuries Unarmed Brandon Brockshus |
| VII | Multi-Intentioned Attacks Smallsword Amie Root |
Single Sword Playbook Singlesword Rodney Rice |
R&D in the Ring Rapier & Dagger Jason Tipsword |
| VIII | Light & Heavy Metal Sword & Shield Aaron Preusse |
Simple Choreography, with Style Singlesword Kate Lass |
Teaching Kids Unarmed Jason Tipsword |
| IX | Cour Spear Quarterstaff Mason Tyler |
Swashbuckling Swordsmanship - with 2 Hands! Rapier & Dagger Brandon Brockshus |
Questions About Voiceover Work? Multiple Weapons Christina Traister |
| X | Multiple Opponents - and - the Rules of Protagonist Fighting Singlesword Brian Byrnes |
Introduction to Longsword Longsword Amie Root |
Get on My Level Unarmed Kate Lass |
Session I 9:10–10:30 Saturday
Quick Hands
Unarmed, Jason Tipsword
We will use flow drills to create partnerships and non-verbal communication while
learning cool martial artsy sequences that can be put together as frameworks for messy
hand to hand fights.
Smallsword is Easy!
Smallsword, Kate Lass
The things that make smallsword unique can be mystifying, so let’s break it down and
find the simplicity in approaching this weapon.
Intro to German Longsword
Longsword, Mike Lubke
The German tradition of historical longsword gives us a unique way to approach sculpting
the look of a fight while also making it martially sound.
Session II 10:40–12:00 Saturday
Short Form in 3/3
Quarterstaff, Rodney Rice
Students will work Quarterstaff in short form focusing on delivering and defending
against three-piece combos. The end goal is finding flow and honing intent while being
on offense and defense.
Disarm or Dat arm?
Knife, Andrew Rathgeber
Based on the foundations of knife flow drills, this workshop will explore disarms
and hand transfers. Utilizing aikido disarm techniques, combatants will explore choreography
where knives are taken away in a defensive action – as well as discovering moments
of surprise when the attacker switches the blade to the other hand. Focus will be
on listening and partnering, and finding a sense of organic play and experimentation.
A Better Use for the Guard
Sword and Shield, D Granke
Understanding the guard as more than a posture to begin the fight. The old masters
taught the guard as a place you moved through not a position you hold. Examine timing
in the guard martially and the theory of the guard as a node in movement, followed
by an examination of how this understanding can allow us as actors to “explode” into
the phrase and close distance to our partners in a dynamic way.
Session III 1:30–2:50 Saturday
Please Try This at Home
Singlesword, Mike Lubke
So you’ve taken some workshop classes, maybe finished your first test, and now you
have to go back home to mundania. Here’s some exercises and drills you can take home
with you to keep those skills fresh!
Got No Strings On Me
Unarmed, Mason Tyer
Rag-doll physics at its grossest and silliest, from broken limbs to knockouts. Students
will practice formulating injuries and debilitating effects on their character’s body
while staying in the story. There will be some discussion of human anatomy as it experiences
blunt-force trauma.
Battle Field Fights – aka – Fighting with What You’ve Got
Multiple Weapons, Brian Byrnes
Explore the scenario of what it may be like to really fight on a battlefield -- with
mismatched weapons and a multitude of possible fighting styles. A good class to work
on your partnering skills, physical listening, and safety for all the other fighters
on the stage. Also a good lesson in ways to stage battles for stage, film, motion-capture,
and other mediums.
Session IV 3:00–4:20 Saturday
Whose Line is it Anyway?
Rapier & Dagger, Andrew Rathgeber
Utilizing aikido techniques and terminologies, this class explores the advantages
(and disadvantages) of non-linear choreography. This will focus on telling better
stories in smaller spaces, or in “the round” while still implementing proper stage
combat safety standards. So often we harp on maintaining safe distance and staying
on target, but here we will play around with the opposite. There will be an aikido
element to the unarmed portion of this class.
This is my Boomstick!
Quarterstaff, Aaron Preusse
This class will explore the basics of how to use the Staff to strike your partner
rather than yourself. We will explore the various targets and parries to make you
look awesome and not just to play Robin Hood.
Nerf Knife
Knife, Christina Traister
This class focuses on the very basics of choreography. Using foam knives, students
explore how their biomechanics react during offensive and defensive moves in response
to another person's body and aggressive action. By the end of the class, students
will have strung together a phrase of choreography.
Session V 4:30–5:50
Knife Fight!
Knife, Brandon Brockshus
Learn to stay safe and look good wielding a knife in staged, violent situations. Cut,
stab, slash, disarm, evade, and block an armed or unarmed opponent. Consider sightlines,
audible breath, pursuing your objective, and consistent characterization as an actor-combatant.
Introduction to Sword and Shield
Sword and Shield, Amie Root
Be introduced to fundamentals of storytelling with a sword and shield.
Physical Comedy
Unarmed, D Granke
Find your funny! Explore the rules of comedy in a supportive free form environment.
Session VI 9:10–10:30 Sunday
Ringen Am Schwert
Longsword, D Granke
Wrestling at the sword. An examination of techniques designed to grapple with an opponent
on the corps-a-corps range while both opponents are armed with a longsword, explore
the concept of fühlen while learning specific locks, disarms, and setups for throws.
Character Spectrums
Multiple Weapons, Mike Lubke
This class is an exploration of what different physical actions tell us about character
attributes, and how different character types can perform the same action.
Gruesome Theatre Injuries: Safe Approaches to Stage Violence
Unarmed, Brandon Brockshus
Ever been injured in a stage fall? Tired of being slapped in the face on stage? Learn
and practice safe and effective techniques to sell stage violence to your audience
WITHOUT the battle scars to show for it. Explore the sounds and lingering pain of
violence to aid effective storytelling.
Session VII 10:40–12:00 Sunday
Multi-Intentioned Attacks Smallsword
Smallsword, Amie Root
Push your dueling chess game to the limit with an intensive look into telling the
intricate story of a multi-intentioned smallsword attacks.
Single Sword Playbook
Singlesword, Rodney Rice
An introduction to stock singlesword phrases. One of the best things about this weapon
style is how versatile it is and that it gives actors the ability to put together
and show off a phrase of choreography with limited prep time. This class covers singlesword
stock phrases and lets students work toward making a quick choreography demonstration.
R&D in the Ring
Rapier & Dagger, Jason Tipsword
Students must have experience with Rapier & Dagger to participate in this class.
Let's tweak footwork and blade traffic to make fights move in a way that minimizes
or eliminates straight lines and blocked sight lines. Helpful anywhere, but geared
for festival performers.
Session VIII 1:30–2:50 Sunday
Light and Heavy Metal
Sword and Shield, Aaron Preusse
These weapons might seem heavy but we’ll explore how light and agile they can be and
how they can work for you. Through the percussive qualities we’ll make some awesome
fight music.
Simple Choreography, with Style
Singlesword, Kate Lass
Even the most basic choreography can still tell an exciting story. From rhythm changes
to vocals and more, this class explores all the elements that can make a fight dynamic
to watch on stage, no matter what the choreography is.
Teaching Kids
Unarmed, Jason Tipsword
Whether a high school production or a youth theatre production, young actors benefit
from clear expectations and a carefully conceived plan. I work extensively in youth
theatres who cast actors from 4-18. This is what I use when I begin working with such
a group.
Session IX 3:00–4:20
Court Spear
Quarterstaff, Mason Tyer
The smallsword is not the epitome of precision and nuance; you are, and you can be
that with any weapon. We’ll explore the finest point work this side of France, proving
elegance can be found even in a stick.
Swashbuckling Swordsmanship – With 2 Hands!
Rapier & Dagger, Brandon Brockshus
Pick up a sword and learn to look good wielding it in a staged fight. Cuts, slashes,
parries, and evasion will be considered. Then, a dagger will be added in the other
hand for a taste of double fence! Special attention will be given to keeping yourself,
your scene partner, and the audience safe during stage violence.
Questions about Voiceover Work?
Christina Traister
Designed to answer questions for the ever-evolving hyphenated artist of today looking
to diversify their talents. This class specifically answers questions in regard to
the basics needed in regard to equipment and techniques for self-recording audition
submissions, specifically related to audiobook narration.
Session X 4:30-5:50
Multiple Opponents – and – the Rules of Protagonist Fighting
Singlesword, Brian Byrnes
We often see our Protagonist in a situation where they must fight Multiple Assailants,
and this class will give you the chance to be on both sides of that equation! A good
class to work on the musicality and rhythms of a sequence, partnering skills with
multiple actors, accuracy of blade-work . . . and . . . exploring the general dos
and don'ts for the Protagonist's storyline.
Introduction to Longsword
Longsword, Amie Root
Be introduced to fundamentals of storytelling with a longsword.
Get On My Level
Unarmed, Kate Lass
In this class, we’ll take some common unarmed choreography and explore how to adapt
that choreography when working with people of different heights and body types – and
how to use your own body to tell the most effective story when fighting on stage.
Who is going to teach?
Instructors at the level of Certified Teacher or above and instructors at the level of Actor-Combatant or Advanced Actor-Combatant will rotate in the roles of primary and supporting instructor. This way, there will always be 2 instructors in each classroom – 1 seasoned and 1 developing their expertise. Here is your 2024 team!
Brian Byrnes
SAFD Fight Master, Fight Director, and Certified Teacher -- Brian has taught at institutes, colleges and universities across the country. His work as a Fight Director includes New York theatres; regional and repertory theatres; opera and ballet companies; and work with Motion Capture companies in the U.S. and Sweden. Brian is an AEA actor, works as a director, and has also written several plays that have been professionally produced. He was a Visiting Assistant Professor at the University of Iowa (1992 & 1995). He was a Full-Time Faculty Member, Tenured Associate Professor with the University of Houston School of Theatre & Dance (1996-2012). Brian also served as a Full-Time, Tenured Associate Professor and Head of Movement with the Graduate Acting Program at the Old Globe and University of San Diego Shiley Graduate Theatre Program (2012-2020).
Amie Root
Amie Root is a movement, stage combat and theater pedagogy teacher, fight director, playwright and actor. She travels across the country teaching and working in theatre. Amie is a Certified Teacher with the Society of American Fight Directors (SAFD) with whom she is an official mentor. Amie has been a guest artist instructor for California State University Summer Arts for over a decade and has been the Fight Director for Unto These Hills for four seasons. She was a teaching artist for The Shakespeare Theatre Company in Washington DC for four years. Additionally, she is this year's SAFD Teacher Certification Workshop Pedagogy Instructor, as well as coordinates the pedagogy training at the Texas Intensive hosted by the University of Houston and the two-week Central Illinois Stage Combat Teacher Trainer hosted by Western Illinois University. Amie Root has a BA in drama from the University of Wisconsin Stevens Point and is pursuing her MFA in Directing at Western IL University. Website: www.Amieroot.com
Brandon Brockshus
Brandon Brockshus (ISU Performing Arts BA ’13; Kinesiology MS ’21) is a PhD candidate in Kinesiology at Iowa State University and Recognized Society of American Fight Directors (SAFD) Actor/Combatant. Mr. Brockshus has served as fight director for Iowa Stage Theater Company, The Des Moines Playhouse, Shot in the Dark Productions, Central College, Simpson College, Drake University, Morningside University, Iowa State University, and Iowa high schools. He teaches DRA 127: Stage Combat at DMACC -- Ankeny in the summer. His research interests include methods of teaching stage combat and the effects of stage combat training and practice on the human brain. He lives in Ames, Iowa with his wife, daughter, and son.
Christina Traister
Christina is an SAFD Fight Master, Fight Director, and Certified Teacher; she also currently serves as the organization’s president. She is Head of Performance and a Professor of Acting & Stage Combat in the Department of Theatre & Drama at the University of Michigan. Prior to that she was an Associate Professor of Acting & Movement for eleven years in the Department of Theatre at Michigan State University, teaching Classical Acting, Movement, and Stage Combat; she also served as the Graduate Acting Program Director for five years during her tenure there. Before she began her career in academia, Christina was a San Francisco based actor and fight director for twelve years before moving back to her home state of Michigan. Professional fight directing and teaching venues include the American Conservatory Theater, Utah Shakespeare Festival, Alabama Shakespeare Festival, Cleveland Play House, The American Shakespeare Collective (TASC), Shakespeare Santa Cruz, San Francisco Shakespeare Festival, Michigan Shakespeare Festival, Purple Rose Theatre Company, Williamston Theatre, BoarsHead Theatre, Stormfield Theatre, North Carolina School of the Arts, University of San Diego, University of California-Santa Cruz, the San Francisco Conservatory of Music, Adrian College, and Hillsdale College. She has also taught stage combat master classes at numerous workshops both nationally and internationally. Christina holds an MFA in Acting from the Alabama Shakespeare Festival, and a BFA in Performance (Acting) from the Department of Theatre & Drama at the University of Michigan. She is the Founder and Coordinator of The Fredricksen Intensive. She is also a freelance audiobook narrator with over 300 recorded titles.
Jason Tipsword
Jason Tipsword (certified teacher - SAFD) currently serves as Social and Emotional Learning Interventionist for Clayton Ridge Community Schools in NE Iowa where he lives with his wife Nika and 53 animals. He also works extensively in youth theatre, serving as Teaching Artist in Residence at George Daily YouTheatre in addition to directing the theatre program at Clayton Ridge. J served on the faculty at Central College-Pella, and the University of Iowa, and as guest artist at Kirkwood Community College, and William Penn University.
In his other work, J serves in a county substance abuse treatment court, coaches high school and youth soccer, runs online narrative games professionally, and worked for seven years in security and law enforcement.
Andrew Rathgeber
Andrew Rathgeber (he/him) is a Chicago-based Actor and Fight Director. As a fully-recommended Advanced Actor Combatant in the Society of American Fight Directors, Andrew is the Company Fight Director for Montana Shakespeare in the Parks, works locally as an Actor/Fighter with Lyric Opera Chicago, Fight Director for Oak Park Festival Theater, and has collaborated with Chicago Shakespeare Theatre, Remy Bumppo, Commission Theatre Co, Raven, The House Theatre, Route 66 Theater, Haven Theatre and side project theatre co. Other credits: American Players Theatre, Forward Theater, Oklahoma Shakespeare in the Park, Montana InSite Theatre, Tippet Rise Art Center, Bozeman Actors Theatre, and The Verge. Andrew is actively pursuing Certified Teacher status with the SAFD, and is a certified Consent Forward Artist with Intimacy Directors and Coordinators. He has been on teaching staff at numerous regional workshops (Winter Wonderland Workshop, Tourist Trap, Brawl of America, Allegheny Alley Fight, The Fredricksen Intensive, The Stage Combat Workshop at Louisiana Tech, and the Texas Intensive), and has taught masterclasses for the University of Oklahoma, the University of Toledo, North Central University, Neutral Chaos, and Open Gate Movement Arts. Andrew trained at the University of Oklahoma and the Royal Academy of Dramatic Arts. Outside of the SAFD, Andrew holds rank in Aikido at Chicago Aikikai, and in Judo at Tohkon Judo Academy.
Aaron Preusse
Aaron is the Founder of the Fake Fighting Company, a stunt and stage combat company based in Minnesota. He is a Certified Teacher and Fight Director with the Society of American Fight Directors. In addition, Aaron received honors of Advanced Gold with Recommendation from the British Academy of Dramatic Combat.
Aaron has served as Fight Director for over 25 productions at the Guthrie Theater. In addition, he has been the Fight
Director for the Children’s Theatre Company, the Ordway Center for Performing Arts, Minnesota Opera, Commonweal Theatre Company, Park Square Theatre, as well as many other theatres, universities and film projects in the region.
Aaron has taught for the Saint Paul Conservatory for Performing Artists, the University of Chicago, University of Minnesota, Concordia University of St. Paul, the Minnesota Thespian Festival, along with many other institutions. He is a graduate of the Dell’Arte International School of Physical Theatre and the London Academy of Music and Dramatic Art. More info can be found at www.fakefighting.com
Mike Lubke
Mike Lubke is a fight choreographer, instructor, and occasional performer based in St Paul, MN. He is the founder of Art In Arms, LLC which produces year-round stage combat courses and independent workshops for performers and choreographers. Mike is a founding member, resident fight director, newest Artistic Director of Six Elements Theatre, where he serves as the lead coordinator for the Brawl of America regional stage combat workshop every May. Recently, he has joined the coaching staff at Circus Juventas, a Cirque du Soleil NexGen development affiliate. Onstage, his work has been featured in over 80 productions for MN theaters and his various screen credits include work for FOX, History, and Lifetime networks. Mike is a proud Certified Teacher and recognized Fight Director with the Society of American Fight Directors, where he serves as the Fight Director Representative on their governing body. www.ArtinArms.org
D Granke
D is a Director, Fight Director, Intimacy Director, and Movement Specialist based in Maine.
Selected Professional Fight Direction credits include: The Black Suits (Joe's Pub), Born Yesterday, Morning After Grace, and The Little Foxes (Asolo Repertory Theatre), FLY and The Curious Incident of the Dog in the Nighttime (Florida Studio Theatre), The Piano Lesson, The Mountain Top, and Dearly Departed (Westcoast Black Theatre Troupe), Vietgone, The Invisible Hand and Bad Jews (American Stage), The Niceties, Dry Land, Dike, and Pilgrims (Urbanite), Macbeth, Romeo and Juliet, and Richard the III (Tampa Shakes), The Elaborate Entrance of Chad Diety and In the Blood (Stageworks), As You Like It, A Skull In Conemarra, and Gloucester Blue (Jobsite Theatre), Don Giovanni, Faust, Il Trovatore, Carmen, Tales of Hoffman, and La Boheme (St Petersburg Opera), Voodoo Macbeth and Take Me Out (Studio 620), A View from the Bridge (Tampa Rep), Appropriate (Three Bone Theatre) and Unto these Hills and Time of War (Cherokee Historical Association)
Directing Credits include: A Clockwork Orange (Jobsite Theatre) Ready Steady Yeti Go (Stageworks) Macbeth and Richard III (Tampa Shakes) Beruit and Blue Surge (Cena/Cenari) Bethany and Tender Napalm (TRT2) and US Drag, They Don't Pay We Won't Pay, and She Kills Monsters (Theatre USF) They are currently the director of Unto these Hills 72nd season.
They hold a BFA from the University of Michigan, and an MFA from Virginia Commonwealth University. They teach acting at the University of Maine, Orono and have previously served on faculty at the University of South Florida.
In addition to stage combat training, they have extensive experience in mask, mime, physical comedy, and devising. They also has extensive experience in the martial arts, including Tai Chi, Aikido, SAMBO, and Brazilian Jiu Jitsu. They have also served as an associate instructor of Historical Fencing, with Krieg School Tampa Bay, where they taught longsword and dussack based on the work of Joachim Meyer.
Rodney Rice
Rodney is an Advanced Actor Combatant based out of Ypsilanti Michigan where Rodney performs and choreographs fights and has assisted Christina Traister with University of Michigan's stage combat course. Rodney has also worked a good number of workshops in the past few years and is excited to add the Prairie Rose to that list.
Kate Lass
Kate Lass (she/her) is a Chicago-based actor, fight choreographer, teaching artist, and intimacy director. She teaches regularly in Chicago at The Actors Gymnasium and at her own company, Strike & Reason, and she has been on staff at numerous SAFD workshops around the country. Kate is an Advanced Actor Combatant with the SAFD and an Associate Member of SDC.
Mason Tyer
Mason Tyer is a director, violence director, intimacy director, and production manager living in Minneapolis, Minnesota. He is a Certified Teacher, Theatrical Firearms Safety Instructor, and the Secretary for the Society of American Fight Directors.
Mason is a lead teaching artist for Children's Theatre Company and taught stage combat for The Guthrie, North Hennepin Community College, Art in Arms, Youth Performance Company, Bemidji Community Theatre and Open Gate Movement Arts.
As a violence director, he has worked with Children's Theatre Company, Duluth Playhouse, Paul Bunyan Playhouse, Theatre in the Round, Full Circle Theatre Company, Journey North Opera Company, GREAT, Open Window Theatre, Children's Performing Arts, Lakeshore Players, and numerous high schools and community theatres.
Mason is also a stunt performer and coordinator for films and video content in Minnesota. masontyer@gmail.com.
Sign me up!
Register Now!
Send inquiries to Brandon Brockshus at bmbrockshus@dmacc.edu.