Passion for fencing, which I have practiced since I was a child including at a competitive level, and passion for the entertainment world whatever it is: theater, opera, cinema, advertising, television.
I inherited these passions from my father, who certainly was a great man in both fields.
I remember, both for hearsay and for seeing them, when he was teaching fencing to people like of Tyrone Power, Errol Flynn, Charlton Heston, Burt Lancaster. "
riservati sia ad attori che a semplici appassionati
La conoscenza dei segreti della scherma scenica può essere strettamente utile a chi si cimenta nella non facile professione di attore: sapersi muovere con l'arma in pugno, imparare come si porta una "teatrale stoccata" o come fare una "parata spettacolare", può dare "una marcia in più" e completare le capacità recitative. I corsi del Maestro Renzo Musumeci Greco garantiscono a chiunque, anche a chi non ha mai tenuto un'arma fra le mani, la capacità di muoversi sul set e sul palco come un provetto spadaccino
Corsi di scherma scenica
Preparation of fencing scenes
A clearly fake duel fails to excite any spectator: yet the excitement and public participation are the ultimate goal of the show. The preparation of a spectacular and plausible duel, which does not end in a "ignoble" scene of shoving and fistfighting, requires however a thorough knowledge of the arts of fencing and entertainment.
The movements of the scenic fencing (lightning-fast and essential, as ample and elegant) are the basis: only the "real" fencing, appropriately adapted, is able to transfer the spectacularity that derives to a "fake" duel from being credible.
Preparation of actors and stuntmen
In the event of particularly difficult and / or dangerous duels.
Too often, unfollowers are not able to assess the actual danger or difficulty that may arise from the fiction of a duel. The scene blades can break more easily than you think, quickly becoming sharp weapons, before the fencer can even notice it.
But the protections that the fencers use during their meetings are not allowed: on the set and on the stage, no masks, no armor. However, the requirements of the scene may impose that the blades must hurt,
tear off clothes, be pointed precisely at the heart or throat.
For all these situations the knowledge of a few basic actions can be insufficient: and in these cases a true master of arms is required.