Choreographer to fight director
A choreographer already meets 41% of what the fight director role asks for. The move turns on 12 required skills not yet in the profile.
64.7/ 100
1 How much of what a fight director is expected to do is already part of a choreographer’s work. Directional: the figure for the reverse move differs, because moving into a speciality is not the same problem as moving out of one. 2 Every skill the fight director role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
A fight director role treats 8 of its required skills as things a choreographer already does. You would walk in with these on day one.
- create new fight sequences
- intellectual property law
- labour legislation
- manage artistic career
- manage personal professional development
- monitor art scene developments
What stands in the way is 12 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.
Table 2 · What you already bring
Of the 12 skills that carry over, these are the ones fewest other occupations ask for. A fight director role needs them, and most people applying for one will not have them already. This is the part of a choreographer background worth leading with.
- already held create new fight sequences communication, collaboration and creativity
- already held read dance scores communication, collaboration and creativity
- already held prepare performance training session communication, collaboration and creativity
- already held monitor art scene developments information skills
- already held manage artistic career communication, collaboration and creativity
- already held work in an international environment communication, collaboration and creativity
All 12 carried skills, including the 8 the fight director role treats as required.
Table 3 · What you may need to learn
The 17 missing skills fall into 5 areas of the ESCO skill hierarchy, numbered in the order worth working in. Areas carrying the most required skills come first, and inside each one the required skills sit above the optional ones. Nothing here is a verdict on you: it is a list of what this particular job asks for that your current one does not.
- still to learn adjust the work to the venue required
- still to learn coach performers in your fight discipline required
- still to learn define an approach to your fight dicipline required
- still to learn ensure the longevity of the fight actions required
- still to learn adapt fighting techniques for performance required
- still to learn communicate expectations of fight actions required
- optional, not held engage in fencing optional
- optional, not held memorise lines optional
- optional, not held read musical score optional
- still to learn supervise performers' fights required
- still to learn analyse your fight discipline expertise required
- optional, not held develop strategy to solve problems optional
- still to learn use personal protection equipment required
- still to learn work ergonomically required
- still to learn perform risk assessment for fight actions required
- optional, not held write risk assessment on performing arts production optional
- still to learn performing arts fights legal regulations required
Table 4 · Where to start
The 3 entries a fight director role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 adjust the work to the venue practise this
- 02 coach performers in your fight discipline practise this
- 03 define an approach to your fight dicipline practise this
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 12 skills that carry over
- already held create new fight sequences skill
- already held intellectual property law knowledge
- already held labour legislation knowledge
- already held manage artistic career skill
- already held manage personal professional development skill
- already held monitor art scene developments skill
- already held prepare performance training session skill
- already held work with respect for own safety skill
- already held manage artistic project skill
- already held read dance scores skill
- already held show intercultural awareness skill
- already held work in an international environment skill
5 supplementary skills, helpful but not required
- optional, not held engage in fencing optional
- optional, not held memorise lines optional
- optional, not held read musical score optional
- optional, not held write risk assessment on performing arts production optional
- optional, not held develop strategy to solve problems optional
37 held skills the fight director role does not ask for
- not needed by the target role analyse music score skill
- not needed by the target role art-historical values knowledge
- not needed by the target role assemble an artistic team skill
- not needed by the target role be a role model in community arts skill
- not needed by the target role correct potentially harmful movements skill
- not needed by the target role create a work environment where performers can develop their potential skill
- not needed by the target role create choreographic material skill
- not needed by the target role define artistic approach skill
- not needed by the target role demonstrate specialisation in a dance tradition skill
- not needed by the target role demonstrate technical expertise of your dance style skill
- not needed by the target role describe artistic experience skill
- not needed by the target role design flying movements skill
- not needed by the target role develop a choreographic language skill
- not needed by the target role develop a choreographic work skill
- not needed by the target role develop an artistic framework skill
- not needed by the target role develop codified movements skill
- not needed by the target role develop methods for choreographic integration skill
- not needed by the target role develop proposed choreographic language skill
- not needed by the target role develop the physical language skill
- not needed by the target role ensure longevity of choreography skill
- not needed by the target role identify performers' needs skill
- not needed by the target role identify requirements of the work in the artistic performance skill
- not needed by the target role inspire enthusiasm for dance skill
- not needed by the target role maintain safe working conditions in performing arts skill
- not needed by the target role match needs of target community with your skills skill
- not needed by the target role notate different dances skill
- not needed by the target role practise flying movements skill
- not needed by the target role rehearse artist fly movements skill
- not needed by the target role select music for performance skill
- not needed by the target role stimulate performers' imagination skill
- not needed by the target role teach dance skill
- not needed by the target role train artists in flying skill
- not needed by the target role understand the architecture of a live performance skill
- not needed by the target role understand the conceptual dimension of a live performance skill
- not needed by the target role understand the emotional dimension of a performance skill
- not needed by the target role understand the physical language of a live performance skill
- not needed by the target role work with broad variety of personalities skill
1 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- still to learn performing arts fights legal regulations required
Common questions about this move
Can a choreographer become a fight director?
Yes, and it is a substantial move. A choreographer already covers 41% of what a fight director is expected to do: 12 skills carry over, 8 of which the fight director role treats as required.
What skills does a choreographer need to become a fight director?
12 required skills are missing, plus 5 optional ones. They fall into 5 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is adjust the work to the venue.
How hard is the move from choreographer to fight director?
Its learning distance is 64.7 out of 100, which is the substantial band. That accounts for both how much is missing and how specialised those skills are.
How this record was compiled
Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.