Direct from Germany...

There's always a fun and exciting feeling I get when a medium sized box comes to my desk with a return post label on it that reads, "CheruskerMesser Stiegeweb 36e D-49565 Bramsche." It's a sure sign that whatever is in that box is going to be cool.

Today's special delivery comes from Dirk, who made my day by letting me know he could offer me a hell of a deal and a steal when the Desangut did not go into production. Basically, they sent me four pieces for the price of two.

Instead of going hogwild for more blades (which was very tempting) I opted to grab some trainers. Three of them, individually boxed, shiny with that newly forged steel smell. For my fourth piece, I selected an LLC CRMIPT or Close Range Medium Impact Tool. That's pronounced "crimped". I guess it sounds better than "krrmm-ipped"

While much of my training involves using a much larger blade than anyone who wishes to stay on the right side of the law would carry such as the Abaniko, I primarily train with (and carry) the Lapu Lapu Corto. The Abaniko has a cutting edge that is anywhere between 5 to 7 inches depending on the model, and the Lapu Lapu Corto has a cutting edge less of less than 4 inches, in accordance with NYC law.

To be even more specific, I don't carry a live blade on my person. Even though the law may be on my side with a small blade like that, experience has taught me that most NYPD don't seem to give a damn about any actual laws if it means they can score an arrest.

For the last few years, I've carried a training drone on me. It couldn't effectively cut much of anything, but is still useful if you know how to use it. It's also great as a prop weapon. It looks like a knife, but isn't.

However one might need something more, and police especially are on shaky ground with any blades they carry and might use. If they defend themselves against an aggressor by using a blade, they are open to a host of problems - lawsuits and questions about the appropriateness of using an edged weapon to control a dangerous situation. (Silly, I know. Don't attack a cop. They have directives and stuff.)

Enter the CRMIPT - the same weight, material and shape as the live blade and training drone, but somewhere in between. Instead of a cutting edge, it has a roughened surface of mild serrations. The CRMIPT can't cut, but it does cause pain. Pain, but not serious damage. This means the user can defend themselves, and control a suspect using the same techniques as one would use with a live balde all without cutting said aggressor into whacko tar-tar.

Here's the three types, the drone up top in red, the CRMIPT in the middle in blue, and the live blade on the bottom.



You can't see from this shot those rough serrated edges on the CRMIPT, but trust me, they're there.

Even better, the CRMIPT is available for civilian purchase, and since it's not a live blade, it stays on the happy side of the law. That doesn't mean I can go flashing it around in public, but it does mean a more effective tool for defending myself in the highly unlikely situation that I need to. After all, my number one key to beating an attacker is: don't be where you'll get attacked.

Unless of course that attack is scripted, choreographed and for an audience. In that case, I won't be using a CRMIPT on an actor.

Quality and Time...

I thought it might be worthwhile to comment on the difficulty in staging an excellent piece of violent action without time to rehearse it.

In my experience - outside of professional environments, there are a great many directors who cast roles without much regard to an actors level of experience with combat, yet they ask that the performer learn a combination or sequence for a fight in very little time and perform it with expertise, realistic aplomb, and safety.

I hereby issue this plea to directors and producers everywhere: if you desire to have any staged violence in your show, be prepared to pay for it. It may cost some actual money to produce, but aside from the monetary factor, you must be prepared to pay for it in the currency of Time.

It may seem nigh impossible in the restricted rehearsal time allotted to independent theater production to devote hours of rehearsal time to what is essentially a few seconds, or minutes of action as part of a much greater whole, but here are some excellent reasons why the time is worth it...

1. Safety. Safety, safety, safety. The more complicated the sequence is, the easier it can be for performers to make mistakes. Even the most simple single punch or slap can go wrong if it isn't rehearsed! Factor in close quarters, various weapons, or props and mistakes can and will occur. Adequate rehearsal time will help reduce or eliminate the potential of those mistakes.

2. Professionalism. Actors are simply (to take a horribly un-artistic stance for a second) walking and talking most of the time. Yet we rehearse the walking and talking stuff for hours on end. Most of us walk and talk quite a bit in our daily lives and have a resonably strong familiarity with walking and talking. Many of us do not however have a working familiarity with striking other people, or discharging weapons at them. Devote a modicum of time to allow your actors to bring as much of their craft to the combat as possible. I HATE watching actors turn into bleary eyed automatons during a fight scene.

3. Quality. Any fight director/choreographer can map out an easy sequence and your actors can perform it. The more time that is allotted to build the moment however, means more interesting combat. It's a lot like comedy. Old jokes we all know just aren't that funny. Staged combat can go from blase to compelling by keeping things original or by putting new spins on familiar moves.

4. Philosophy. The combat might last 5 seconds but remember, in many cases this is a pivotal moment in these character's lives. The character(s) have chosen or been forced into using physical action over words. The next few seconds can redefine how the audience perceives the character for the rest of the show. Don't throw away a moment like that. The world's most boring character can become mysterious or amazing, loved or hated depending on how the combat happens. Yes, much of this is defined by the script, but there could be room for flexibility. By way of example, for those Lost fans out there, think back to the scene with Ben Linus leaving the island and appearing in Tunisia. Sure, he made short work of those guys who showed up. But if he had shot them all with a concealed pistol, instead of using that concealed baton, he'd be a hell of a lot less impressive.

And... rant ended. Enjoy your weekend!