A fight scene can prove a lot; while a play-by-play is likely to feel like you're describing a movie rather than writing prose, there's a lot one can tell about the way a character fights, how they win/lose a fight, and what they do after their opponent is at their mercy. For example, I've been writing a novel recently, with a protagonist who is very into using her physicality/magic to establish dominance, especially if she's ideologically compromised (she's physically strong, ideologically weak).
Her first 'fight' isn't really a fight; she's a leader in a mage cult that values strength, and after one novice gets a little too cocky and confrontational, she confirms his intent to start a fight. When he says yes, she swiftly gets to work and uses geomancy in combination with good ol' fashioned beatdowns to break the boy's ankle, even when he realises how in over his head he is and attempts to run and yield. In addition, her motions when casting are all associated with belly-dancing and keeping time, contrasting the brutality of her physical attacks with the grace of her magical attacks.
Once he's disabled, she uses her magic to assist his mobility briefly, then throws him to the rest of her subordinates, apathetic to whether or not he'll be bullied for his defiance-based injury.
The 'fight' (read: domination) scene gets across several things early on:
Her struggle is not going to be centred around beating up a bad guy, as she's plenty good at beating people up.
She considers acceptance of a fight the point of no return and will not stop until, at the very least, they're no longer a threat.
She herself is a bit of a bully; she can and will shut defiance down with physical force without hesitation. This links to point one: Her struggle is more about maturing to a point where beating opposition up is not her immediate option.
She is both masculine-coded (in terms of raw athleticism, stoicism, and tendency to show off physical might) and feminine-coded (incorporating graceful, rhythmic, dance-based motions into her fighting style).
She strongly believes in an edgy, toxic rendition of 'survival of the fittest', in which the injured aren't given special consideration.
And all these facets are covered in a simple fight scene given context by a lengthier set of dialogue and buildup. Every fight scene needs to have a purpose; think through what your fight scene is proving, because unlike a movie, raw spectacle is simply not enough.