K-orbit closures on G/B as universal degeneracy loci for flagged vector bundles with symmetric or skew-symmetric bilinear form

We use equivariant localization and divided difference operators to determine formulas for the torus-equivariant fundamental cohomology classes of $K$-orbit closures on the flag variety $G/B$, where G = GL(n,\C), and where $K$ is one of the symmetric subgroups O(n,\C) or Sp(n,\C). We realize these orbit closures as universal degeneracy loci for a vector bundle over a variety equipped with a single flag of subbundles and a nondegenerate symmetric or skew-symmetric bilinear form taking values in the trivial bundle. We describe how our equivariant formulas can be interpreted as giving formulas for the classes of such loci in terms of the Chern classes of the various bundles.Comment: Minor revisions and corrections suggested by referees. Final version, to appear in Transformation Group

Integral Grothendieck-Riemann-Roch theorem

We show that, in characteristic zero, the obvious integral version of the Grothendieck-Riemann-Roch formula obtained by clearing the denominators of the Todd and Chern characters is true (without having to divide the Chow groups by their torsion subgroups). The proof introduces an alternative to Grothendieck's strategy: we use resolution of singularities and the weak factorization theorem for birational maps.Comment: 24 page

Random Acts of Violence: Bringing John Cage’s Chance Techniques to Fight Choreography and Stage Combatant Acting

The concept of chance utilized by John Cage is a frightening, exciting, and liberating process for any artist. It was so effective that other musical artists such as Morton Feldman, Earle Brown and Christian Wolff used it. In the world of theatre these concepts are constantly used today by the Neo-Futurists in Chicago and New York in their production of Too Much Light Makes The Baby Go Blind and by Improv Troupes throughout the country

Dueling with SPT Questions: Members of the College of Fight Masters Share Their Ideas for Skills Proficiency Tests

As the rehearsal process grows closer and closer to the Skills Proficiency Test (SPT) common questions arise regarding what is needed in order to pass. Many of these questions involve the same basic idea – “What are the Fight Masters looking for so that I can pass the test?”, but the most important question that is asked is – “Do you think I will pass?

I Can’t – I Have Rehearsal: Rehearsal Guidelines and Techniques with Fight Scene Work

The rehearsal process often contains excitement, uncertainty, and, at times, stress for all involved. It is at this stage of the process where the culmination of skills acquired (research, character study, and embodying choreography) all come together. The following guidelines and techniques are aimed toward helping the actor address and conquer both acting and fight needs during the rehearsal proces

Fighting the Elements: Determining the Best Scenes for Skills Proficiency Tests

In the last edition of The Cutting Edge I provided tips for locating fight-specific scenes. Now let’s narrow our search from the vast quantity of scenes to a playing field of only the best quality. For a Skills Proficiency Test (SPT), choreography comes first to ensure that the proper techniques are included within the fight. Following these lessons in technique and choreography, the scene selection process begins. In a traditional acting class, the scene selection occurs first and is followed by the explored action. So even though the cart may be before the horse, as it were, with an SPT, it doesn’t mean that it won’t help in actor training. In fact, a result of dealing with different kinds of training obstacles could be a great tool in providing new opportunities for growth for an actor. Still, there are frustrations that must be overcome in reversing the order. The best way to reduce this frustration is to locate strong scenes for acting. After all, we are working towards the title of Actor/Combatant. When choosing a fight scene for a skills test consider the following to ensure that your work will have the necessary elements to excelas both an Actor and Combatant. Acting One by Robert Cohen is a great starting point that provides solid baseline criteria for selecting acting scenes

When the Smoke from the Battle has Cleared

I can recall the time that followed my first national workshop. All of the excitement of new friends and new skills still went through me like a child on Christmas morning considering all of the possibilities of fun with my new toys. I thoroughly enjoyed having my college friends ask me to show them what I had learned. Eventually I was approached by a former professor to choreograph the fights for a production of Hamlet at my undergraduate program. With excitement and great pride I happily accepted

Review of Physical Theatres: A Critical Introduction, and: Physical Theatres: A Critical Reader

Simon Murray (Director of Theatre at Dartington College of Arts) and John Keefe (Senior lecturer at the London Metropolitan University Undergraduate Centre) offer the theatre world two movement analysis texts. These well written books, which focus on techniques from the Western world of physical theatre, would serve graduate level or highly focused classes in movement pedagogy or practice. With their identical six-chapter breakdowns (“Genesis, Contexts, Namings”; “Roots: Routes”; “Contemporary Practices”; “Preparation and Training”; “Physicality and the Word”; “Bodies and Cultures”), the books may be used in relation to one another or stand alone as individual texts

Throwing Down the Gauntlet: Finding the Best Partnership for Fight Scene Work

Over the past few years I have written my perspective on the Skills Proficiency Test process. Earlier this year I thought that my process was complete but then an issue continued to creep up in my mind over and over again. It was that I had not addressed how best to find a partner for one\u27s scene work. The reason for finding a good partner relates to my first workshop in stage combat. Discovering with whom to partner and with whom not to partner for scene work was the most valuable lesson I learned. Rather than focusing upon the ones with whom we should not partner (as the list is without limits), we will take a look at what works for a strong partnership. Some acting teachers will choose a partner for you. If, however, you are left to your own devices, here are some points to consider in picking a great fight scene partner

What a World – What a World: Scene/Script Analysis for Fight Plays

“While perfection is a wonderful goal, there comes a point where you have to let your creation out into the world or it isn’t worth a tinkerer’s damn.” This is a fantastic quote by Twyla Tharp from her book The Creative Habit: Learn It and Use It For Life: A Practical Guide. So what does this have to do with you, the stage combatant? Well you are working hard but you are being told not to strive for perfection because perfection can never truly be achieved in the arts, so naturally itwarrants the question “then for what exactly do you strive?” The answer is excellence! In the university setting an “A” represents excellence not perfection and the SAFD Skills Proficiency Test also has a similar recognition of excellence identified as the Recommended Pass