{"id":12693,"date":"2026-03-30T15:06:32","date_gmt":"2026-03-30T15:06:32","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=12693"},"modified":"2026-03-30T15:06:32","modified_gmt":"2026-03-30T15:06:32","slug":"why-actors-should-do-stage-combat-training","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/the-essentials\/why-actors-should-do-stage-combat-training\/","title":{"rendered":"How Stage Combat Training Can Benefit Actors"},"content":{"rendered":"<h2><span style=\"font-weight: 400;\">Expert Zhenya Leverett explains how mastering the art of stage combat transforms physical action into powerful storytelling.<\/span><\/h2>\n<p><span style=\"font-weight: 400;\">Many actors view a fight call as a series of boxes to tick \u2013 a punch here, a fall there, and a prayer that no one actually gets hurt. But as both a professional actress and a fight director, I\u2019ve seen firsthand that the most captivating &#8216;violence&#8217; on screen and stage has very little to do with the physical impact and everything to do with the emotional truth behind it.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Whether I was trading punches with Jodie Comer on the set of <\/span><i><span style=\"font-weight: 400;\">Killing Eve<\/span><\/i><span style=\"font-weight: 400;\"> or choreographing a complex sword duel for the stage, the lesson remained the same: you aren&#8217;t just hitting a mark \u2013 you&#8217;re telling a story.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In this article, I pull back the curtain on why proactive training is your greatest professional asset, how it shifts the way you collaborate with your fellow actors, and why \u2013 above all else \u2013 mastering the illusion of conflict is one of the most transformative tools in any performer&#8217;s toolkit.<\/span><\/p>\n<hr \/>\n<h3><strong>In this article, you will learn:<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The difference between production rehearsals and foundational skill building.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Why specialised movement backgrounds like dance or martial arts require a specific shift in mindset for the stage.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The direct link between your current technical proficiency and the complexity of the fight choreography you\u2019re assigned.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">How consistent physical training serves as a professional business card during the casting process.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">How mastering stage combat can improve your overall craft as an actor.<\/span><\/li>\n<\/ul>\n<hr \/>\n<h3>Why Stage Combat Training Matters<\/h3>\n<p><span style=\"font-weight: 400;\">As a stage combat teacher and fight director, I often have students ask: \u201cIf I get cast, they\u2019ll provide the fight training. So why bother learning this now?\u201d The reality is that fight rehearsals on a job are not training \u2013 they\u2019re choreography for a specific scene, working with the skills you already bring. Those sessions focus only on solving immediate production needs, not on building long-term skill. It\u2019s problem-solving, not development.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u201cBut I already do martial arts, or dance, or other physical training \u2013 isn\u2019t that enough?\u201d<\/span> <span style=\"font-weight: 400;\">Any physical training is a huge bonus as it means you already have a sense of movement, choreography and coordination. However, stage combat is different. It\u2019s not about winning a real fight, but about creating the illusion of one. And it\u2019s not like dancing in perfect unison either. You\u2019re slightly out of sync, constantly responding and reacting to your partner. The challenge is making the fight look dangerous and convincing to the audience while keeping both actors completely safe.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Balancing acting and fighting at the same time is what makes stage combat such a unique skill. On stage, these skills are even more important because you\u2019re performing the fight yourself. Even in film productions with the budget to hire stunt performers, actors are expected to perform the action.<\/span><\/p>\n<h3>How Your Stage Combat Training Impacts Fight Choreography<\/h3>\n<p><span style=\"font-weight: 400;\">For stage productions, the fight director will come in for a limited number of rehearsals. Their role is to create choreography that tells a convincing story of violence while keeping everyone safe. But they won\u2019t be performing it \u2013 it\u2019s the actor\u2019s role to learn the choreography and bring it to life. A fight director can\u2019t magically transform an untrained actor into a convincing fighter overnight, so the choreography will be designed around the actor\u2019s current skill level. The less experienced you are, the fewer \u2018cool\u2019 moves you\u2019ll probably get to perform.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">If you come to the production with little or no prior combat training, the fight director will have to compromise on the choreography \u2013\u00a0 simplifying it to keep it safe and doable for the performers, while lowering the director\u2019s expectations for how much storytelling the fight can carry. More and more UK theatre productions are now prioritising stage combat training and holding fight auditions. Casting highly skilled actor-combatants first in fight-heavy shows saves time and allows more exciting work within tight schedules.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">For film, a stunt coordinator\u2019s involvement in the casting depends on the production. They might recommend actors they know are strong in combat, and fight reels can help demonstrate your skill level, but keep in mind: you\u2019re only as good as your last fight. Your current ability matters most, so a fight reel from years ago won\u2019t carry much weight if you haven\u2019t trained since.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Most of the time, stunt coordinators work with the cast they\u2019re given. They may push for stunt doubles, editing solutions or additional training for actors, but all of this costs money, and on smaller productions, it might not even be an option.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">No matter your level of training,<\/span> <span style=\"font-weight: 400;\">be honest on set, in rehearsal and in your audition. If you have an injury or prefer not to do certain techniques, tell the fight director or stunt coordinator early so they can create choreography that allows you to perform confidently, this ensures the production runs smoothly and keeps you safe.\u00a0<\/span><\/p>\n<h3>Stage Combat Technique vs Storytelling<\/h3>\n<p><span style=\"font-weight: 400;\">Within stage combat training, there are specific techniques and concepts you will learn. However, it isn\u2019t only about learning these concepts or how to perform punches, slaps or falls safely. It\u2019s about telling the story of violence and making it believable and engaging. Connecting technical precision with emotional truth is <\/span><i><span style=\"font-weight: 400;\">extremely<\/span><\/i><span style=\"font-weight: 400;\"> difficult. Once actors fully commit to a fight scene, their technique often falls apart \u2013 the body tenses and nuances are lost. Without proper and ongoing training, this frequently results in fights that either look fake or become unsafe.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">If an actor is viciously punching a lifeless pillow in a self-tape for a fighting role (which might initially impress a casting director), it doesn\u2019t mean they will be able to produce the same energy and truthfulness to deliver a punch that\u2019s convincing, technically correct, fast and safe when another actor is in front of them.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">A lack of stage combat experience often results in fights that are underpowered, clearly showing the choreography. Safety and choreography exist for the actors, not the audience. The audience pays to be impressed and fully immersed in the story. A strong actor-combatant can combine physical storytelling with character work, adapting the fighting style to the role they are playing (not all characters are martial artists!), while maintaining clarity and intention.\u00a0<\/span><\/p>\n<h3>Building Connections and Partnerships Through Stage Combat<\/h3>\n<p><span style=\"font-weight: 400;\">Focusing on my partner and connecting with them while doing fight scenes made me a better actor and it\u2019s why I fell in love with stage combat. A lot of collaboration and negotiation goes on during rehearsals, building trust and working relationships. I always tell my students, \u201cSell your partner\u2019s moves. Make them look good, and hopefully, they\u2019ll do the same for you.\u201d\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">If your scene partner performs an amazing action but you don\u2019t truthfully react to it, it may make them look strange or weak. For example, in a recent action movie, a character was hit in the face with a heavy gun. There was a great illusion of contact and fantastic make-up showing a bruised nose, but their reaction was not as convincing as it could be. Being struck unexpectedly with a heavy object hurts. A lot! If you don\u2019t fully sell that pain, the audience won\u2019t buy the illusion.<\/span><i><span style=\"font-weight: 400;\">\u00a0<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400;\">Stage combat training teaches performers to be specific in their reactions, play pain accurately and coordinate everything with your partner.<\/span><\/p>\n<h3>Why Timing is Everything<\/h3>\n<p><span style=\"font-weight: 400;\">While working on one TV series as an actor, I had a chat with a frustrated cast member who was struggling to get the timing right during a staged death. Dying convincingly can be tricky too <\/span><span style=\"font-weight: 400;\">\u2013<\/span><span style=\"font-weight: 400;\"> it takes practice, precision and the right timing.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">They were supposed to react to an unexpected knife stab and fall.\u00a0 After a few takes that didn\u2019t quite land, the director decided to use a stunt double to keep things moving smoothly. Later, in the green room, the actor admitted they\u2019d never had stage combat training, which sparked a conversation about how essential good timing is in fights, acting and day-to-day life.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It\u2019s not just about throwing a punch or stabbing someone, but knowing exactly when to act and when to react. Hitting cues precisely and mastering timing are key skills you\u2019ll develop in stage combat training.<\/span><\/p>\n<h3>The Importance of Regular Practise<\/h3>\n<p><span style=\"font-weight: 400;\">Stage combat won&#8217;t click overnight or after only a few classes. It needs time, repetition and consistency, like any other acting skill.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Sadly, it often happens that former students walk into fight auditions, proudly claiming they have an advanced qualification, but that was five years ago and they haven&#8217;t kept up their training since. It shows!\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Keep your skills fresh. Regular, focused training makes a huge difference. With any physical skill, good practice builds strong habits and poor practice reinforces mistakes. When you take a stage combat workshop, or even do one-to-one training, having an experienced eye in the room means errors are corrected in the moment, helping you develop the right habits from the start.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Beyond skill-building, these workshops are a chance to meet like-minded people, work alongside experienced fight professionals, and\u00a0 (everybody\u2019s favourite) network. But here, you don\u2019t even have to talk. Your body, your work, your attention to detail \u2013 that\u2019s your business card. Be present, take notes, be kind and you\u2019ll leave an impression.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">There\u2019s another bonus: stage combat is a physical class. It\u2019s cardio with a purpose \u2013 it improves stamina, helps you stay fit, and strengthens your body, all while building skills that can broaden your acting career.\u00a0<\/span><\/p>\n<h3>Where to do Stage Combat Training<\/h3>\n<p><span style=\"font-weight: 400;\">There are plenty of stage combat classes across the UK, from one-off workshops to full certification courses. I personally trained with the <\/span><a href=\"https:\/\/www.bassc.org\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">British Academy of Stage &amp; Screen Combat<\/span><\/a><span style=\"font-weight: 400;\"> (BASSC), and I can vouch for how thorough their training is.<\/span> <span style=\"font-weight: 400;\">Kit Harington, Tom Hiddleston, Phoebe Waller-Bridge, Taron Egerton, Cynthia Erivo and Aimee Lou Wood took their Fight Performance Exam with BASSC. Their syllabus is taught at RADA and Royal Central School of Speech and Drama. The BASSC runs an annual two-week National Workshop, open to all levels, including beginners, where participants can train and complete their certification. You can also check out <\/span><a href=\"https:\/\/idfight.com\/\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">IDFight<\/span><\/a><span style=\"font-weight: 400;\">, which offers regular BASSC certification courses throughout the year.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The BASSC certificate includes 30 hours of training per weapon or discipline and concludes with a performance of a choreographed fight within the context of a scene, so you\u2019ll act and you\u2019ll fight. But the value of a certification course isn\u2019t the certificate or your final grade \u2013 it\u2019s the quality training hours where you begin developing your skills.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Look at courses near you and try a few different workshops to see which feels right: the training style, the teachers, the community and even the venue. If you have any questions or want a recommendation, feel free to <\/span><a href=\"http:\/\/actingaction.com\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">drop me an email<\/span><\/a> <span style=\"font-weight: 400;\">\u2013 <\/span><span style=\"font-weight: 400;\">I\u2019m always happy to help.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Don\u2019t wait for the fight director or stunt coordinator to train you after casting. Invest in your stage combat skills early and keep practising. It will expand your range, build real competence and, with it, genuine confidence, making you a far more attractive candidate for roles that demand physical storytelling.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I was lucky to be cast in <\/span><i><span style=\"font-weight: 400;\">Killing Eve<\/span><\/i><span style=\"font-weight: 400;\">. But the story is: after my first audition with Suzanne Crowley and Gilly Poole, I was initially offered a small role as one of the Prison Guards. During the audition, I also mentioned that I was highly trained in stage combat. Later, I received a call asking if I would audition for a larger role, which required fighting skills, even though the part had originally been written for a completely different casting type. I\u2019m very grateful for the adaptability and openness of the casting team, but I do believe my combat training helped open that door.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Stage combat training isn\u2019t just about fighting. It\u2019s about acting \u2013 telling a story through movement, emotion, timing and connection with your partner \u2013 safely and convincingly. The audience may not consciously notice these details, but they absolutely feel when something is off. It takes a long time to develop such skills, so if you can, start training now. Performing a fight scene while acting is one of the most challenging things an actor will ever do, and training prepares you to do it with confidence and skill.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Keep training, keep fighting!\u00a0<\/span><\/p>\n<hr \/>\n<h3><strong>Actionable Insights:<\/strong><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Focus on building foundational skills early.<\/b><span style=\"font-weight: 400;\"> Production rehearsals are designed for specific choreography rather than long-term technical development.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Prioritise consistent and regular practice<\/b><span style=\"font-weight: 400;\"> to ensure your combat techniques remain safe and convincing enough to pass a professional fight audition.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Communicate any injuries or physical limitations to the fight director early<\/b><span style=\"font-weight: 400;\"> to ensure the choreography is safe and can be performed with confidence.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>View stage combat as a partnership.<\/b><span style=\"font-weight: 400;\"> Your primary goal is to support your scene partner and react truthfully to maintain the illusion of danger.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Seek out accredited certification courses and specialised workshops<\/b><span style=\"font-weight: 400;\"> to build the stamina and technical precision required to handle complex physical storytelling.<\/span><\/li>\n<\/ul>\n<hr \/>\n<p><i><span style=\"font-weight: 400;\">Zhenya Leverett is a Certified Teacher with the British Academy of Stage &amp; Screen Combat (BASSC) and teaches sword fighting and unarmed combat at RADA, The Royal Central School of Speech &amp; Drama, Young Actors Theatre Islington, and IDFight. She has taught at The British National Stage Combat Workshop, the New York Summer Sling Stage Combat &amp; Stunt Workshop and Lonestar Smash in Dallas.\u00a0<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">As a fight director, Zhenya\u2019s credits span opera, classical and modern theatre, with work on \u2018Cinderella\u2019 (English Touring Opera), \u2018La Liberazione di Ruggiero\u2019 (Longborough Festival Opera), \u2018Ben Hur\u2019 (Abbey Theatre), and productions of \u2018King Lear\u2019, \u2018Macbeth\u2019, and \u2018Twelfth Night\u2019 at RADA. As an actress, she is known for her role as Agniya in the BAFTA-winning TV series \u2018Killing Eve\u2019, where she traded punches with Jodie Comer.\u00a0<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">Zhenya is the Creative Director at Acting Action Ltd. Her article \u201cThe Power of Teaching: Why Do You Want to Be A Stage Combat Teacher?\u201d was recently featured in The Fight Master, the journal of the Society of American Fight Directors.<\/span><\/i><\/p>\n<p><i><span style=\"font-weight: 400;\">More information about Zhenya can be found on <\/span><\/i><a href=\"http:\/\/actingaction.com\" target=\"_blank\" rel=\"noopener\"><i><span style=\"font-weight: 400;\">actingaction.com<\/span><\/i><\/a><i><span style=\"font-weight: 400;\"> and <\/span><\/i><a href=\"http:\/\/bassc.org\" target=\"_blank\" rel=\"noopener\"><i><span style=\"font-weight: 400;\">bassc.org<\/span><\/i><\/a><i><span style=\"font-weight: 400;\">, and on Instagram @zhenyaleverett\u00a0<\/span><\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Expert Zhenya Leverett explains how mastering the art of stage combat transforms physical action into powerful storytelling. Many actors view a fight call as a series of boxes to tick \u2013 a punch here, a fall there, and a prayer that no one actually gets hurt. But as both a professional actress and a fight [&hellip;]<\/p>\n","protected":false},"author":135,"featured_media":12696,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[40],"tags":[49,82,44,50,81],"class_list":["post-12693","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-essentials","tag-film","tag-first-person","tag-starting-out","tag-television","tag-theatre"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>How Stage Combat Training Can Benefit Actors | Spotlight<\/title>\n<meta name=\"description\" content=\"Master the art of the fight. 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