Wether in the dojo or on the set, Cynthia rothrock is no stranger to pun­ish­ment. pre­pare to be in­spired by this mar­tial arts leg­end who tran­si­tioned from tour­na­ment champ to in­ter­na­tional movie star!

Whether in the Dojo or on the Set, She's No Stranger to Pun­ish­ment!

In the past four decades, Cynthia Rothrock has ac­com­plished what many of us dream of but few of us achieve, and that is to nur­ture our tra­di­tional mar­tial arts skills into an in­ter­na­tional ca­reer in fight films. Here’s a look back for those who are too young to have wit­nessed the rise of Rothrock. com­pe­ti­tion Be­fore she graced her first sil­ver screen, young Cynthia Rothrock was a force to be reck­oned with on the East Coast. She won nu­mer­ous forms and spar­ring cham­pi­onships on the re­gional cir­cuit, then grad­u­ated to the na­tional scene, where she con­tin­ued to dom­i­nate in weapons and kata. Known for blend­ing dis­ci­plines — in­clud­ing tang soo do, taek­wondo, ea­gle claw, wushu and Shaolin kung fu — Rothrock used flashy moves that hap­pened to catch the eye of a Chi­nese movie pro­ducer in 1983. Soon after, she found her­self in Hong Kong star­ring in her first film.

It didn’t take long for the mar­tial artist from Wilm­ing­ton, Delaware, to par­lay her tour­na­ment-honed skill set into on­screen suc­cess. She cul­ti­vated such a fol­low­ing that there’s still de­mand for Cynthia Rothrock movies — she worked on a num­ber of film projects in 2016 and has sev­eral slated for 2017. Her ac­com­plish­ments in act­ing shouldn’t be in­ter­preted as ev­i­dence that Rothrock is just a film fighter, how­ever. At heart, she’s still a … fighter.

“One of my go-to com­bi­na­tions when I was fight­ing in tour­na­ments was to set my op­po­nent up by do­ing a front kick with my right leg, and when [my op­po­nents] would drop their guard to block it, I’d turn it into a round­house kick to the head,” Rothrock says. “I also liked to use my side kick a lot. I just looked for an open­ing and shot it in real fast.”

She still has a plethora of fight­ing moves in her arsenal thanks to her ex­pe­ri­ence in all those afore­men­tioned arts. “One of the tech­niques from my wushu training is a trap­ping-hand coun­ter­punch,” she says. “When my op­po­nents have their arms up and stretched out­ward, I like to trap their hand with my right, then with a lot of speed, I hit their front hand with my left and come in with a back­fist.”

Rec­og­niz­ing the ad­van­tages that ac­cu­racy and ex­plo­sive­ness could con­fer, Rothrock long ago de­cided to trans­form her­self into a bet­ter ath­lete and vowed to be in top phys­i­cal shape for ev­ery match and per­for­mance. That fur­ther pol­ished her fight­ing method. “I moved quickly, fak­ing with one tech­nique and hit­ting with another,” she says. “The in­stant they bit on my first tech­nique, I’d shift my po­si­tion and at­tack in a way they weren’t ex­pect­ing.”


es, point fight­ing is e"cit­ing to watch with its kicks and punches that can score in the blink of an eye. ut we all know that on the street, no points are awarded for fi­nesse and the loser does­nǯt walk away with a con­so­la­tion priƒe. o

oth­rockǯs credit, her roots in the tra­di­tional arts kept her from ever think­ing that suc­cess on a tour­na­ment mat transǦ lates to suc­cess in a dark al­ley.

Dz oint fight­ing does sharpen your re­fle"es Ȅ like how to block and move fast Ȅ but fight­ing on the street is an en­tirely dif­fer­ent ball game,dz she says. Dz hen youǯre point fight­ing, you might do a move that you would never want to do in a street fight. oint fight­ing is a sport. Iǯm not say­ing you canǯt get hurt, but itǯs noth­ing like be­ing in a street

he at­tributes you de­velop in com­pe­ti­tion arenǯt en­tirely use­less, she adds. Dz our­na­ment fight­ers are trained to move fast, to get in and out uickly while scor­ing a point in the process. o tra­di­tional tour­na­ment fight­ing is re­ally good to help you with your re­fle"es and help you avoid some­thing thatǯs com­ing at you

ur­ther­more, sheǯs uick to point out that a kick is still a kick and a punch is still a punch. If you land any techni ue with speed and power Ȅ es­pe­cially if you hit a vi­tal point on the body Ȅ it has the po­ten­tial to take out an op­po­nent.

Dz oten­tialdz is the key word there, and thatǯs fine be­cause not ev­ery mar­tial artist trains for com­bat. Dz ra­di­tional fight­ers are sports­men and sportswom­enǢ theyǯre guided by rules and reg­u­la­tions,dz she says. DzIt is­nǯt a fight to the death. here is the oc­ca­sional bro­ken nose, lots of &ammed toes and ȏevenȐ knock­outs. ut tour­na­ments, even those that al­low light con­tact, canǯt be com­pared to a street fight be­cause we have a code of con­duct and rules to fol­low Ȅ even A fight­ers. hatǯs one big dif­fer­ence be­tween a proǦ fes­sional fight and a


es­pite the ob­vi­ous dif­fer­ences be­tween movies and the street, oth­rock has al­ways fought to keep her ac­tion scenes as re­al­is­tic as pos­si­ble. he ual­ity of the re­sult, she says, de­pends in large part on whether the film is from ong ong or ol­ly­wood. In the tates, most ac­tion films ben­e­fit from hav­ing ade uate re­hearsal time built into the pro­duc­tion sched­ule, from hav­ing ac­cess to stateǦofǦtheǦart safety gear and from em­ploy­ing an e"pe­ri­enced stunt co­or­di­na­tor. In ong ong, how­ever, many safety prac­tices get tossed out the win­dow, leav­ing it up to the star to do the stunt in one or two takes. In con­trast, a ol­ly­wood pro­duc­tion might spend a whole day get­ting a fight &ust right.

Dz here were a cou­ple of times when I thought I was going to get killed while film­ing in ong ong Ȅ I did some pretty dan­ger­ous stuff there,dz oth­rock says. DzȏIn Yes, Madam!], I had to fight eight guys with weapons. I turned to do a block, and the guy ac­ci­dently hit me in the nose with his sword. y eyes started to wa­ter, and my nose turned red. he di­rec­tor came over and said, Ǯ hatǯs , your nose looks bet­ter now,ǯ and we kept film­

hat bashed beak was a walk in the park com­pared to what another ong ong di­rec­tor asked his Amer­i­can star to do. DzIn the movie, which was Lady Re­porter ȋalso re­leased

Al­though she's best-known for forms and weapons, Cynthia Rothrock was a spar­ring cham­pion in her early days.

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