Students will learn and understand basic strike/punches that are often used in a choreographed fight in a play and/or film—namely: stomach punches/kicks and the Captain Kirk.
Tumbling or wrestling mats “Star Trek” video, cued at a staged fight scene that includes Captain Kirk’s signature move. VCR or DVD
Anticipatory Set/Hook Have students remove all jewelry (rings, watches, earrings, necklaces, etc.) and empty their pockets and put everything into their backpacks, then to put their backpacks against the wall as soon as they come into the classroom. Then, have the students start their warm-up exercises quietly.
REVIEW: The previous lessons.
Step 1—Transition: What are some of the punches you have seen in a fight scene? Write the students’ responses on the board. Explain: Today we will be learning some additional typical stage combat strike
Step 2—Have the students select a partner that they have not worked with before. Ask: Who trusts their partner? (If someone does not trust his/her partner, tell them to trust them until they do something that breaks the trust.) What else should we do as far as our partner is concerned? (Respect your partner and work at their capacity and training level.)
Step 3—Group Practice: Have the students determine who is partner A and partner B. Then they must organize themselves as instructed the previous class. (all partner A’s face the same direction and all B’s face the same direction. Never have two people playing the same part work back to back because it will cause unnecessary traffic problems once they begin moving about the space. Every performer can be seen at all times; this will help in coaching the students through each of the techniques. Each performer should be able to move about freely in all directions for several feet before running into a fellow performer.)
Step 4—Making certain everyone can hear the explanation and see the demonstration, teach the students how to do the the “no-contact” Stomach Punch. Establish eye contact and check distance. The Sign/Cue: Cue by winding the arm back, down, and sideways. Instruction: This punch never touches the victim at all. Line up with right shoulders in line, the attacker facing downstage and the victim facing upstage. Make sure that fighter’s heads are not lined up exactly, so the audience can see the attacker’s face. This is a safety precaution so that the victim may react without threatening the attacker’s head. The arm comes forward, stopping 6 – 8 inches from the victim’s stomach, coupled with a strong vocal reaction and a doubling over from the victim. The victim creates the knap on his/her thigh. Attacker needs to keep his/her hands clear of the target. The victim must remember to give a big exhalation of breath to the reaction, and to never threaten the attacker’s head by bending toward him/her during the reaction to the punch.
Ask for a volunteer victim. Have the Victim demonstrate the minimum distance (outstretched while demonstrating the “no-contact” stomach punch..
Checking for Understanding:
Step 5—Modeling: Ask for a volunteer to demonstrate what they have learned for the class. Remind the student to always be in control. As the student performs the skill, spot him/her if needed.
Ask: Was this skill done correctly? What was good about it? How could it be improved? (Students give feedback first, then add corrective information)
Have the volunteer repeat the skill. Give him/her appropriate feedback. Let others who want to demonstrate their ability to perform the move to do so. Give them appropriate feedback.
Step 6—Guided Practice: Remind the students about practice speed (slow motion). Have Partner A practice the move as the attacker. Then switch, and have Partner B practice the move as the attacker.
Give students feedback as they practice so they can improve their performance.
Checking for Understanding: Ask the students how they feel about doing the move. What is difficult? Answer and clarify as much as possible. If necessary, go through the process again to help students improve.
Step 7—Repeat steps 4, 5, and 6 for the Contact Stomach Punch. Always use Eye Contact The Sign/Cue: Swing the arm back so fist is even with side of body. Instruction: This punch can be done in full view of the audience. The participants follow the general instructions for the no-contact stomach punch. Line up with right shoulders, the attacker and the victim face each other towards opposite sides of the stage (Stage Right and Stage Left) so the action is visible to the audience. Make sure that fighter’s heads are not lined up exactly, so the audience can see the attacker’s face. This is a safety precaution so that the victim may react without threatening the attacker’s head. The arm comes forward, stopping at the moment of impact at the victim’s stomach. The attacker’s elbow does not swing past his/her ribcage. The punch is coupled with a strong vocal reaction and a doubling over from the victim. The victim creates the knap on the side of his/her thigh away from the audience’s view. The victim must remember to give a big exhalation of breath to the reaction, and to never threaten the attacker’s head by bending toward him/her during the reaction to the punch. Reaction: Victim
Step 8—Repeat steps 4, 5, and 6 for the Captain Kirk Establishing Eye Contact is very difficult to do when performing this move so it is imperative that it is carefully choreographed and both partners are fully aware of the every move. The Sign/Cue: Cupping hands together and raising hands over head. Instruction: The Attacker cups hands together and raises hands over head. The Victim is bent over with back facing upward (toward ceiling). The Attacker brings cupped hands down, making contact on the victim’s back at the meaty portions above the shoulder blade. If done correctly, this move can create its own knap. If necessary, the victim can create a louder knap by hitting his/her upstage thigh. The Reaction: The victim must remember to give a big exhalation of breath to the reaction as he/she falls to knees and/or knees and hands.
Step 9— Ask: Why do you think this strike/move is called the Captain Kirk? Show the film clip. Ask: What did you see? Explain: This move is called the Captain Kirk because Captain Kirk does this move in many of his staged combat.
Step 10—Transition: Inform them that each partnership will perform the newly learned moves in combination for the class. Give the students a few minutes create a mini-performance utilizing anything been taught (jab, upper cut, John Wayne, instigation(s), defensive move(s), falls, etc.). Be sure to leave enough time for performances and critiques. Emphasize that there is to be no improvisational moves.
Ask for volunteers to perform their devised combat combination. Remind the student to always be in control and use slow motion.
Ask students to critique each others’ performances: Was this skill done correctly? What was good about it? How could it be improved? (Students give feedback first, then add corrective information)
Students may volunteer when they want to perform but all must perform a short unarmed combat.
Step 10—What is a subsequent move that could be used after the Captain Kirk? (the body throw)
Tell the students they need to practice at home. Suggest that they teach their parents what they are learning in class. Also, remind the students to reflect on what they learned today, then write in their learning log.
Participation, Mini-Performance, and Learning Log Entry