卡罗来纳州的军刀训练. 照片由打架的家伙摄影.
Jyo “Six” Carolino graduated from Rhodes in 2011 with a degree in theatre. Spurred by a passion for performance and a history studying a variety of martial arts forms, he now works professionally as a stunt coordinator and fight choreographer for the stage and screen. He represents the Society of American Fight Directors and his own Memphis-based fight choreography brand, 夜间舞蹈作品, 这是他在正规博彩十大网站排名读书时就开始开发的. Carolino’s choreography has been featured in projects and performances across the Midsouth, 以及他自己的原创项目, 比如电影 我是斯巴达人 还有网络系列 挑战运行. Carolino’s work has been featured in a multitude of film festivals both locally and internationally, 在此过程中获得了超过25个奖项. In addition, Carolino does freelance voice acting and serves as a consultant at Lindamood-Bell, 他在哪里教儿童和成人阅读理解. 在接下来的采访中, Carolino discusses his approach to theatrical violence and how he balances his professional life as an artist with a wide skill set.
安娜-麦康奈尔: What kinds of extracurricular activities were you involved in while at Rhodes?
Jyo Carolino: 在麦考伊剧院的演出和其他活动之外, 我在罗兹生活的其他方面也很活跃. Notably, I was an active member of ASIA (All Students Interested in Asia) and I was the President of the GSA (Gay-Straight Alliance). 我的大部分社区活动都集中在lgbt的倡导上, 无论是在校园里还是在大孟菲斯社区.
AM: 你是什么时候开始接触表演的? 这种艺术表现形式吸引你的是什么?
JC: The world of performance was always one that had my attention from an early age, but I would say the show that made me realize I could pursue it as a legitimate career was 布凡特:吸血鬼之家 (大卫·梅森导演，2013年).
AM: 你的个人网站(传奇).com) includes a quote from Rhodes Associate Professor of 媒体研究 David Mason: “it’s a kind of dynamically charged physical interaction between people that ends up being a kind of . . . 自己的诗.” Can you explain the context of this quote and what it means to you?
JC: 2017年，我与大卫·梅森(David Mason)会面，进行了一次视频采访. 我们讨论了舞台格斗既是一门学科也是一门艺术, 他在一部纪录片中与我分享了他的观点. It serves as a reminder that our job as both choreographers and performers is not simply to capture the act of violence, but to best communicate the story to the audience in a way that evokes an intended emotional response.
Crown Vox的“球的统治者”mv的幕后. 摄影:Philip Murphy
AM: How would you describe your approach to choreographing theatrical violence? 当你在一个场景中工作时，你会想到什么?
JC: To best understand a scene of violence, I have to understand context. I've had directors try to insist on lines being pushed for shock value without understanding that would change both the intent of the scene and the effect on the audience. 如果我对材料有最好的了解, I am able to more effectively communicate what the parameters of the characters should be. After that, I balance the expectations of the scene with the capabilities and comfort levels of the actors involved. 演员的安全是至高无上的, so I make a point of establishing what limits an actor can push and what limits an actor must maintain. This is both in terms of physical capabilities and the mental/emotional stamina. From there, my process depends on the actual details of the job I was hired for. 作为第二单位主任, I will have an active hand in establishing camera movement and any special effects usage. 如果我只被雇为编舞, camera movement and SFX is usually the responsibility of another department.
AM: 除了在电影和戏剧中为打斗设计舞蹈, 你还是个特技演员, 舞蹈老师, 和配音/福利艺术家. 作为一个多学科的艺术家，你是如何找到平衡的? 你更喜欢哪个学科?
卡罗来纳，在挑战运行的幕后. 大卫·梅森摄.
JC: I feel that I am at my best when I am utilized as a Second Unit Director in charge of action or intimacy. Being able to choreograph a scene and then detail exactly how it is captured is both creatively fulfilling and the maximum utilization of my skillset; it also provides the most opportunities for creative and professional growth. 就平衡而言, I'll confess that managing both the training and the opportunities of multiple disciplines can be like walking a tightrope. Advice from former Rhodes professor Cookie Ewing has proved essential: "Breathe." Allowing myself the time to breath by spacing out my activities prevents me from getting overloaded or burned out.
AM: Of all the projects you have worked on, which are you proudest of and why?
JC: I think every director is simultaneously most proud of and most embarrassed by their first project. 虽然这不是我执导的第一个项目， 我是斯巴达人 是我的第一部电影吗. 虽然不完美, it was a very personal narrative for me - I wrote it in dedication to my fiance, 谁在几年前就去世了. 在创作中投入了大量的情感和心血, and seeing all that work pay off with continually receptive audiences has been very fulfilling. 在专业方面, we didn't initially anticipate the wide success the movie ended up having, and it ended up being a great jumping off point for a lot of the team in their careers.
AM: 除了工作表现, 你也是林达伍德-贝尔学习过程的顾问. 你能谈谈你在这里的工作吗?
JC: 在Lindamood-Bell, we focus on strengthening a student's sensory-cognitive process for reading and comprehension. 作为顾问, I write the instructional plan for students during their tenure with us, 以及运行他们的评估, 让家长/监护人了解他们的最新进展, 成为教学团队的一员.
AM: Do you have advice for current students intending to pursue careers in education or performance?
JC: My advice for those wanting to pursue both education and entertainment would be exactly the same: be prepared to learn. Even walking in with a wealth of knowledge and experience will not guarantee a path or an answer, 找到它是你的责任. Industries shift in both landscape and expectation; those that can adapt and stay versatile are the ones that see success. 当然，正如琦琦·尤因告诉我的，“深呼吸."
作者:Annalee McConnell, 22岁