I tend to view theatrical fencing differently. To me, Hollywood is the best, most effective, most global PR machine for fencing you can find in the world. (Unfortunately, most swordsmen today seem to spend more time putting down silverscreen combat than helping to convert romantic public perception into living interest for fencing, no matter what system.)

As long as there are fight directors like Dan Speaker, however, I think that PR machine is in good hands -- if the respective director only would leave him alone in orchestrating the fights.

Speaker has done his research -- trying to establish the delicate balance between historic accuracy and dramatic effect for a host of weapons, including broadsword, quarterstaff, smallsword, rapier, as well as backsword and basket-hilt weapons.

He summed up his experiences and thoughts in his Handbook of Techniques. All techniques are the result of condensed and thorough historical research -- of course without any other intent than to train stage fencers and stuntmen to perform dramatically appealing fight sequences as close to period character as possible.

Of particular interest is the chapter on "Vaudevillian and Golden Age of Hollywood" swordplay. This stylistic artefact unites elements of various early 20th-century sports fencing approaches and, to the chagrin of most purists, has developed into something like a closed subsystem of fencing in its own right.

Speaker, for the first time in print, provides a detailed analysis of these techniques, whose origins he painstakingly pieced together from interviews with old actors and stage fighting masters.

Conceived as a self-published guide for his students at the Academy of Theatrical Combat, I think this volume stands a good chance of being picked up for publication by a major book publisher. In my opinion, it is good enough to replace William Hobbs's Stage Combat as a standard reference for good theatrical fighting.