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

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

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

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

...And Scene: A Guide to Locating Fight Scenes

It is one of the most daunting tasks: trying to find a strong fight scene for a Skills Proficiency Test or even a class project. The truth of the matter is that your main focus is to pass your skills test while hopefully leaving an impression on your peers(especially the adjudicator!). Passing, and hopefully receiving an Examiner’s Award for Excellence, is the best result; or if you are at a National Stage Combat Workshop, you could possibly receive a Certificate for Best Actress or Actor. At the very heart of the issue, you need a scene that will work for both acting and fighting. Not only actors feel this issue. Even now my friends who teach skills tests express similar problems that I have encountered while teaching in a college setting. Students flock to our offices asking, “Where/How do I find a fight scene?” The common result, which can be a problem, is that many student actors locate scenes that have a heightened conflict, but often do not call for stage violence

A Violent Character: Stage Combat Character Analysis

It is so deceptively easy stating who your character is but it is over looked more often than you may think. A good character analysis is important in the actor/character relationship and here we will look at the key elements of character research and their specific relationships to the stage combatant