ĭaredevils are distinct from stunt performers and stunt doubles their performance is of the stunt itself, without the context of a film or television show. However, even when executed perfectly, there is still strain and performing stunts often results in unplanned injury to the body. This allows them to better break down and plan an action sequence, physically prepare themselves, and incorporate both the safety and risk factors in their performances.
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Current film and television stunt performers must be trained in a variety of disciplines, including martial arts and stage combat, and must be a certified trained member of a professional stunt performers organisation first in order to obtain the necessary insurance to perform on the stage or screen.
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įrom its inception as a professional skill in the early 1900s to the 1960s, stunts were most often performed by professionals who had trained in that discipline prior to entering the movie industry. Despite their well-choreographed appearance, stunts are still very dangerous and physically testing exercises. To reduce the risk of injury or death, most often stunts are choreographed or mechanically-rigged so that, while they look dangerous, safety mechanisms are built into the performance. In live performances the audience can see more clearly if the performer is genuinely doing what they claim or appear to do. In filmed performances, visible safety mechanisms can be removed by editing. There is maximum risk when the stunts are performed in front of a live audience. There is an inherent risk in the performance of all stunt work.
Stunts seen in films and television include car crashes, falls from great height, drags (for example, behind a horse), and explosions. A stuntman typically performs stunts intended for use in a film or dramatized television.
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