How long will a fight director spend on a production? At the higher end of the pay scale, the fight director will be present at all rehearsals, meetings etc. but it is more usual for one to attend not less than 12 hours of rehearsals in four or more "slots" as rehearsals proceed. This time scale is a generalisation of course. Many factors enter into it. The difficulty level of the fight, the actors' abilities, the amount of time for which the actors can be "let go" etc. But 12 hours is a good period of time to aim for. A scuffle with fists will not take as much time as Cyrano De Bergerac, but if the actors are inexperienced it could take time just to get through the basics. Similarly a full flung version of Macbeth could take many many more hours. Why hire a fight director at all? Certainly there is no legal reason to do so, however, it is advisable to use a professional fight director on a production for two clear reasons. 1/ To make the fight safe. 2/ To make the fight good. SAFETY is the "above all" reason for using a FD. The fight director will work consistently towards making the fight safer for all those involved. Making a fight which serves the production! The FD will install a sense of security in the actors which (Although keeping them aware of the dangers) will allow them to perform without fear of accident. He/ she will tailor the fight not just to the production, but a good FD will also tailor the fight to the needs and abilities of the actor. What is the fight director's relation to the production director? Ahhhh, there's the rub. Many a director will not want their toes tread on by an interfering FD. No FD worth their salt will interfere with the directors intentions for the scene, however. The fight director may advise on certain moves, etc. but the artistic content of the fight (Which is just part of the play, and lest we forget, not what the play's all about!) remains in the control of the director. The amount of artistic control allowed varies from director to director. Some will allow full control as discussed and accept what you create, others will want to sit in every rehearsal and analyse. This is fair enough, but keep your eye on your watch, as you (the FD) are often on a tight schedule. Actors who think of fight rehearsals as a "skive" will want to talk about every moment, but if time is short nip it in the bud and push them. Ultimately the fight director has an ace up his/ her proverbial sleeve. If the FD is unhappy with the situation and finds that they are having their time cut short by endless interfering, all they can do is play the "safety card". If you are not happy and time is getting short, speak to the director, and make it clear that you cannot guarantee the safety of the performers, without more time, control etc. If they ignore you speak to the production manager or ultimately the company manager about your concerns.* What are the rules and regulations regarding fight directors in the UK? The simple answer to this is that there are none. Equity hold a register of fight directors which is based on those that train in England and Wales, with the BASSC and the BADC. This list is a proof if you like of the exams etc. which members have sat. In Scotland most actors train with Prof. Bert Bracewell of the BAF, as I have done. Bert teaches swordsmanship, stage combat, and for those that specialise, many forms of historical and theatrical weaponry. He holds a register of qualifications for each of his students. Standard insurance policies cover fights within production, there is usually no additional clause. Anyone with Equity membership has additional insurance from "first act", and some FD's have additional policies. e.g. I also have £6, 000, 000 insurance from the BAF. All this means squat however, as it's about getting someone you can work with, that knows their trade, and is available. * I have pulled the safety card several times. Once the general manager intervened on my behalf, when the director refused me a fight rehearsal onstage before the first performance, once when the stage manager refused me stage management support on the main battle rehearsal before THE BATTLE OF STIRLING BRIDGE and most recently when on an outdoor event, the crowd spilled onto the performance area and I refused to go with the show until the area was safe. This held the show back by some 15 to 20 minutes, but nobody died, which was the only thing concerning me.