Tim Klotz

Tim works internationally as a fight director, creating fights for theatre, ballet, opera, film, video games and television. His approach is unique, and is best known for its innovative approach to acting in fight scenes. Credits include Shakespeare’s Globe, Lyric Hammersmith, Southbank Institute/Royal Festival Hall, Haymarket Theatre Basingstoke, Nashville Ballet, Comedy Theatre London, The Tobacco Factory Bristol, BBC, Channel 4.

Born in New York, Tim studied method acting in the US and went on to the Bristol Old Vic Theatre School, where he also apprenticed as a stage combat teacher. Tim is resident fight director at The Drama Centre; London’s leading Drama School for the methodical approach to acting. More recently he has studied Sanford Meisner’s approach to acting with Tom Radcliffe.

As an educator, Tim staffs and runs workshops and events in the UK, US, Canada, Italy, South Africa, Ireland, and the Netherlands. His classes are challenging and dynamic, focusing as much on acting as combat. Drama Schools include Drama Centre London, Oxford School of Drama, Mountview, Rose Bruford, and Movement classes at Actors Temple London. Tim has recently completed an MA in Academic Practice with a focus on Arts Research in safe space for performers.

From time to time Tim has provided casting assistance for productions seeking action actors and motion capture performers, including Kingdom of Heaven and Alexander. Work in motion capture for video games includes Medieval Total War II, Spartan Total Warrior, Killzone 2, and Shellshock 2.

Tim has worked as a special consultant to British Fencing to develop alternate fencing activities to increase participation. He devised SabreLite, an intuitive swordplay system which has been delivered at over 30 UK universities. Tim personally delivered SabreLite at London South Bank University, London School of Economics, and the University of the Arts. Tim has programmed historical smallsword for the Colonial Williamsburg Foundation.

His role with Tempus Fugitives is to adapt Elizabethan period martial arts to the stage, and help create new and intuitive ways of portraying this elegant methodology. The idea is to equip theatres with authentic and effective combat methodologies, without losing the safety or the drama of an acting performance.