Level 1 Foil/Epee/Sabre Course Handouts

• Australian Fencing Federation Assessment application form • Level 1 Coaching Course – Worksheets • Foil Text – Gillett • A Simple Guide to Fencing Terms • Teaching Groups Overview • Beginner Lessons • Intermediate Fencers & Lessons • Locating Breakdowns in Electric Equipment • The Fencers Workbooks – Foil, Epee, Sabre, Generalities

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SIGNED ______NAME: ______(Assessor 1) (Print) Assessment sheets need to be forwarded to the National Coaching Director by assessors. State coaching directors or course presenters to forward form once coach has completed the required component for the level applied for. One of the assessors must be a registered work place assessor. Participants being assessed must have completed all the assessment criteria and be signed of by a minimum of 3 AFF approved/appointed assessors.

Please forward form to: PIETER LEEUWENBURGH AFF NATIONAL COACHING DIRECTOR 3 MARTIN ST BOX HILL NORTH VIC 3129

LEVEL 1 COACHING COURSE-WORKSHEETS

(B) THEORY

Reference: Excerpts from Foil Technique and Terminology by Jean-Jacques Gillet (provided by Course Presenter).

TASK 1 (UNIT-FOIL 1A) List five (5) mistakes to avoid in the execution of (a) the DEVELOPMENT and (b) the RETURN TO GUARD.

TASK 2 (UNIT-FOIL IB) In no more than half an A4 page, explain what COMPOUND ATTACKS are and list five possible defensive actions which could be used against them.

TASK 3 (UNIT-FOIL 1C) Describe the general conditions (7 points) which must be present for all TAKINGS OF THE BLADE and list four (4) points that the Coach should take note of in regard to how and when to teach them.

TASK 4 (UNIT-FOIL ID) Describe the three phases involved in the execution of the second intention counter-time and list four (4) mistakes to avoid in its execution.

SATISFACTORY COMPLETION = ALL TASKS ANSWERED CORRECTLY IN ACCORDANCE WITH THE REFERENCE PROVIDED. Should a candidate not complete all tasks correctly, s/he should be asked to repeat those tasks which were incorrect until satisfactory completion is achieved.

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LEVEL 1 COACHING COURSE-WORKSHEETS

(A) TERMINOLOGY

Reference: “A Simple Guide to Fencing Terms” from Fencing With the Foil by Roger Crosnier (Faber & Faber, London, 1951)(provided by Course Presenter).

TASK: Please answer the following questions correctly.

1.What is the difference between the "foible" and "forte" of a blade?

2.What are referred to as the "manipulators" in fencing?

3.What do fencers call the combined actions of the extension of the arm and the lunge?

4.What is the name of the simplest form of direct attack?

5.What is the difference between a "remise" and a "redoublement"?

6.What type of parry describes a half-circle with the point?

7.What type of parry describes a circle with the point?

8.What is the correct definition of a counter-disengagement?

9.What is the difference between a "riposte" and a "delayed riposte"?

10.What do a "beat", a "pressure" and a "taking of the blade" have in common?

11.What is an attack which is not intended to land called?

12.What is the difference between a "trompement" and a "derobement"?

SATISFACTORY COMPLETION = ALL QUESTIONS ANSWERED CORRECTLY. Should a candidate not answer all questions correctly, s/he should be asked to repeat those answers which were incorrect until satisfactory completion is achieved.

Australian Fencing Federation

Level 1 (NCAS) Fencing-Foil Coaching Course

Recommended text Excerpts from

Foil Technique and Terminology

By

Maitre Jean-Jacques Gillet

Contents:

Chapter 1: The Weapon: The Foil...... pg 3 Chapter 2: Holding the Weapon...... pg 4 Chapter 3: The Guard...... pg 6 Chapter 4: The Lunge (The Development)...... pg 7 Chapter 5: The Return to Guard...... pg 8 Chapter 6: The Measure and Footwork...... pg 9 Chapter 7: The Lines – The Fencing Positions – The Valid Surface....pg 11 Chapter 8: The Engagement – Change of Engagement – Double Engagement...... pg 12 Chapter 9: The Simple Attacks...... pg 14 Chapter 10: The Parries...... pg 17 Chapter 11: The Riposte and Counter-riposte...... pg 20 Chapter 12: The Absence of Blade...... pg 21 Chapter 13: The Feints – The Invitation – The False Attack...... pg 22 Chapter 14: The Compound Attack...... pg 24 Chapter 15: The Variations of the Attack...... pg 25 Chapter 16: The Preparations of the Attacks...... pg 26 Chapter 17: Attacks on the Preparation...... pg 29 Chapter 18: The Counter Time...... pg 31 Chapter 19: Taking the Blade...... pg 33 Chapter 20: The Fleche...... pg 35 Chapter 21: The Counter Attacks...... pg 36

Chapter 1: The Weapon: The Foil

The foil is composed of' two principle parts: the blade and the hilt.

Maximum Total Length: 110 cm Maximum Total Weight: 500 gm

• The Blade - made of steel with a quadrangular section, with a flexibility of between 5. 5 cm and 9.5cm. The maximum length is 90 cm and it is terminated by a tip or a button. We distinguish three distinct parts of the blade:

o The forte or strong part, that 1/3 of the blade closest to the guard which is the strongest part and used to control the opponent's point during such actions as parries and prises de fer (see Chapter 19)

o The middle part, which is used for engagements, changes of-engagements and certain attacks on the blade (beat, pressure)

o The foible or weak part, which is used when avoiding the opponent's preparation, or deceiving parries.

• The Hilt - is composed of three parts is:

o The guard, in which the blade is centred must be able to pass through a gauge 12cm in diameter by 15cm long;

o The grip, or handle, which may take various forms;

o The pommel, which holds the weapon together and which serves as a counterweight. The balance point of the French foil weapon should be approximately 3cm on the blade from the guard.

Chapter 2:Holding the Weapon

The grip is held in the palm of the hand, the thumb lightly flexed downward and located close to the guard. The underside of the grip rests on the first joint of the index finger, the other fingers folded together without tension around the grip, to assist in manipulating the action of the blade and to provide general support for the thumb and index finger against an opponent's action.

Role of the Fingers The thumb and the index finger clasp the grip and control the movements of the blade. The other fingers aid both in controlling the point (on feints and changes of engagement) and strengthening actions on the blade (on parries and prises de fer) by an increase or decrease in pressure without leaving the hilt. This method of holding the weapon facilitates proper arm extension without tension in the shoulder muscles and maximizes finger play (not wrist or arm movement) and dexterity with the point.

Mistakes to Avoid o Holding the grip too far from the guard o Extending the index finger along the grip o Not placing the little finger on the grip

The utilization of the French handle facilitates the development of correct fingering. This type of grip allows the position of the point to be controlled solely by the fingers. Finger play can be developed through exercises such as; engagements, changes of engagements, double engagements; beats, change beats, counter beats; pressure and counter pressure; as well as by deceiving the various parries. These exercises will also progressively develop "feeling of the blade” (sentiment du fer) that is, a tactile sensibility which allows one to perceive the intentions of the opponent, to "read the opponent's hand." The so-called "Orthopaedic" or ', Pistol" grips made their appearance, in the early part of this century, and have particular utility in epee, which is a much heavier weapon than the foil. They were invented in order to help some fencers compensate for weak hands and fingers which limited their finger play and prises de fer abilities. The Italian school had always used a weapon with a cross bar and often a leather loop for binding it to the arm. The various spurred handles and the use of the Martingale progressively gained wide use in foil due to the increased point- heaviness of the electrical weapon and increased flexibility of the blade. While it is true that the Orthopaedic handle can lend strength to the hand which is of no doubt of value for attacks on the blade and prises de fer, it is also true that the fine finger play necessary for point control and penetration, the derobement and trompement, are greatly diminished. Another consideration is that with the French handle, one can confuse the opponent by creating a false sense of distance by varying the exact placement of the hand along the length of the grip. This can sometimes be of great tactical advantage and is specifically outlawed with any but the French grip. Statistically, between 1946 and 1962, in foil and epee 15 World Championships were won with the French grip, 3 with the Italian, and 6 with Orthopaedics (Pistol) grips. In the Olympics during the same period all events were won by men and women from different nations, but using the French handle. I believe these statistics are significant. All beginners should definitely use the French grip. Only this grip will develop the tactile facility for intricate finesse demanded at the highest level of proficiency. With this grip the student will learn to feel the action. If, later on, it becomes evident that the student lacks hand strength, the Master can guide the choice of grips. It is of utmost importance during this transition period that the Master demand precise execution of finger action to maintain the student's point control. Competition fencing is currently dominated by fast, authoritative, simple actions and the Orthopaedic grip as a tool instead of as a crutch can be of tactical benefit. The various pistol grips allow the greatest facility for finger play and are therefore preferable.

Regardless of grip, the weapon should be held with the hand in 45° supination. The tip of the thumb should lie directly opposing the 1st joint of the index finger, the other fingers wrapped lightly around the grip. The edge formed at the upper outside corner of the quadrangular blade should face the outside line.

Pedagogic Advice o Begin with the French grip, as being best suited for the beginner. o Have the beginning student hold the weapon without a glove for the first few times.

Chapter 3:The Guard

On Garde is the fundamental fencing position, and on its correctness depends the proper execution of all other movements. It is a condition of equilibrium. This cannot be overstated. The two prerequisites for a proper guard are stability and mobility. It is a unique position of equilibrium from which the fencer can move forward or backward with equal efficiency and case, and which allows the fencer to be equally prepared for both offence and defence. Technique o The feet at a 90° angle, the heels in line, the front foot pointing at the opponent, the back foot at a variable distance, depending upon the height of the fencer and the length of the fencer's legs. o Equal flexion of the legs, so that the center of gravity may he found by a vertical line passing through the center of the pentagon formed by the thighs, the legs, and the line between the heels. The flexion of the legs should be sufficient to place the knees directly over the toes. o The trunk vertical and erect, and in semi-profile (the line of the shoulders parallel to the line of the hips), presenting as little target as possible, head turned toward the opponent. o The rear arm very relaxed, the hand level with the shoulder, and opened and without tension. The elbow should be approximately a hand's span from the hip. o According to the tactical intention, and the particularities relative to every fencer, the position of the weapon arm may vary (short, intermediate, and long guard point higher or lower than the hand, etc). o The weapon arm is bent, the hand in supination with the thumb at 2 o'clock (10 o'clock for left-handed fencers), the wrist and handle of the weapon should be in line with the forearm, forming an angle of approximately 35°. The elbow is lowered, but is away from the body approximately one hand's width.

Mistakes to Avoid o Distance between the feet insufficient or exaggerated o Legs not flexed o Insufficient profile o Poor position of the rear arm o Wrist of weapon arm bent o Front knee and toe not pointing directly forward

Variations The various elements of the guard position may vary depending on the tactical necessity of the bout; displacement of the center of gravity onto the front leg is necessary for certain preparations of the attack, and to facilitate the retreat. In modern fencing with the electrical foil actions are carried out in all lines, and in certain very special situations such as in fighting the classical guard position must be modified to fit these new uses as well.

Pedagogic Advice o The Master must demand a sustained attention and effort from the student in order to develop a guard position which is completely correct. o The student must have a kinesthetic appreciation of this position. o The Master must adapt the guard position to the physical characteristics of the student (morphology, flexibility).

Chapter 4: The Lunge (The Development)

The extension of the arm followed by the lunge constitutes, the development, the most prevalent form of offensive action. It allows the fencer to attack from an immobile position (the guard position), and it allows him to maintain constant balance and to continue the phrase d’armes.

Technique: Mechanical Analysis o The weapon arm is extended completely and with suppleness, the shoulder relaxed, the hand in supination (neither elevation nor opposition exaggerated), the weapon in line with the arm, point aiming at the target. o The center of gravity is carried slightly forward, the trunk remaining upright. o The action is executed by first lifting the toe of the front foot, then simultaneously: kicking the foot forward, the heel "grazing" the floor; and a complete and rapid extending of the rear leg, pushing from the toe, moving the pelvis forward horizontally, that is, parallel to the ground; and throwing down the rear arm in the same vertical plane as the body, hand just touching the rear leg. o The front foot lands on the floor heel first, the calf perpendicular to the floor. o The front knee rests directly over the heel of the front foot. o The line from the front knee, through the pelvis to the rear foot, should form a straight diagonal line. o The rear foot must remain flat and the trunk vertical to assure perfect balance (whether recovering forward or backwards), and to allow for an appreciation of distance.

Mistakes to Avoid o Hesitation between the extension and the lunge o Hand not remaining in supination o Weapon arm withdrawn in the lunge o Not raising the front toe before lunging o Back foot turning over, sliding or leaving the floor o Insufficient profile o Hand dropping and/or trunk leaning forward in the final position o Lowering the center of gravity too much following a guard position which was not low enough

Correct coordination and acceleration of the development can enable the fencer to touch the target even before his forward foot hits the floor. Proper execution of the lunge is independent of the strength of the fencer) it depends on his relaxation, coordination, and balance.

Pedagogic Advice o Watch for complete extension of the arm (the hand in proper supination), the complete relaxation of the shoulder, good balance in the guard position, and that the student does not lean on the plastron of the teacher in the lunge.

Chapter 5: The Return to Guard

Resuming the guard position (either forward or backward) following the lunge is called the return to guard.

Technique: Mechanical Analysis o To regain the guard, the rear leg is flexed sharply along with an energetic recovery of the back arm to its original guard position. The weight of the body is simultaneously transferred to the rear leg, by the extending of the front leg, pushing from the heel. The front foot is replaced in the initial position, the foot "grazing" the floor as it moves. The arm remains extended, the point in line, in order to cover the return to guard; i.e. to be ready, to parry or to deceive the opponent's offensive action. The arm is bent only after the fencer regains his fencing distance. o The movement must be accomplished without elevation of the pelvis, with hips moving parallel to the floor.

Mistakes to Avoid o Weight on the forward leg o Forward knee inside or outside instead of directly forward o Rear leg not flexed o Premature retraction of the weapon arm o Insufficient use of the back arm

Executed correctly, the return to guard permits immediate adjustment to the tactical necessities of the bout: o Avoiding the riposte of the opponent; o Parrying the opponent's immediate attack; o Regaining the offensive (redoublement of the attack); o Beginning to retreat out of range; o Engaging in close combat by a forward recovery,

A correct lunge facilitates the return to guard, which should be executed with balance, litheness, and smoothness.

Pedagogic Advice o Insist on perfect coordination of flexion of the back leg, and the push of the front heel. The front foot should return flat, neither heel nor toe first; body weight should be centred between the legs. o The Master should return the blade to his student in a way that will make him feel the necessity of covering his return to guard with the point in line. (For example: by opposition on the Master's blade, by parry and riposte from the extended position, or by deceiving the Master's attack on the blade.

Chapter 6: The Measure and Footwork

The measure is the greatest distance at which a fencer is able to touch his opponent by lunge. In attacking, the measure is taken from the rear foot. One says that the fencer has his correct measure when he touches his adversary with the blade bending only a few millimetres. In electric foil, the pressure needed to cause a signal must be greater than 500gms.

Types of Footwork (in order of utility) o The advance consists of moving the front foot forward, following with the rear foot at the same distance. It is executed prudently, with small steps, the legs supple, the feet "grazing" the floor without noise, and the heel is very slightly raised from the floor, playing the role of shock-absorbers. o The retreat consists of moving the rear foot backwards, followed by the front foot (keeping the same distance). When done attentively, it preserves contact and distance with the adversary. Its execution follows the same principles as the normal advance. o The jump forward and balestra made with both feet "grazing" the floor and regaining contact at the same time, the chest remaining vertical. This may be employed most often in conjunction with an attack on the blade (beat) and also to provoke an offensive action, which can be used to advantage. o The passé avant, the cross step advance, executed by passing the rear foot forward, placing it before the front foot, and then stepping forward with the front foot, placing it at its proper distance; it is most often utilized with the fleche. o The passé arriere, the cross step retreat, executed by passing the front foot behind the rear foot, then stepping, backward with the rear foot, permits a rapid retreat with stability and good contact with the floor. o The backward jump carries the fencer rapidly out of distance in response to an opponent's surprise attack. o The inverse advance; moving the rear foot to the front foot followed by a lunge is a tactical procedure which permits in the course of several advances, the gaining of the measure without alarming the opponent. o An inverse retreat; done by moving the front foot back followed by the back foot is used most of all in epee. This technique is used to remove the threatened target (the leg or toe) from the opponent's reach. It has very little utility in foil.

Mistakes to Avoid o Moving with the legs stiff; footwork must always be as natural, relaxed, supple, and elastic as possible o Advancing with the legs insufficiently bent causes a lack of suppleness and a lack of spring at the instant of the attack; It also causes bobbing and weaving that will telegraph your movements to your opponent o Bending and extending the legs while advancing or retreating wastes energy, upsets balance and prevents instantaneous release of the attack o Accompanying the footwork with oscillation of the trunk forward and backward causes disbalance o Moving obliquely - a mistake which follows from a poor foot position with the heels not in line o Dragging the feet or raising them too high

Variation of Rhythm in Footwork Tactically, footwork may be slow or rapid, according to one's desires, in order to surprise the opponent or to provoke a specific reaction. Even the speed of the displacement of each foot in the same advance may be varied; the first a slow glide, the second a rapid step, or the inverse. In theory, slow movements, attract less attention, and permit an attack which will surprise an inattentive opponent Rapid movements, on the contrary, seize the opponent's attention and may startle him into making a mistake, sometimes even permitting the conclusion of the attack to be executed slowly (a parry riposte "with raised foot" in the flight of the lunge, or a counter-time).

Pedagogic Advice o Footwork must be studied in the lesson in a precise and consistent fashion. In giving a mobility lesson, the Master must oblige the student to study his footwork, and to develop responsive fluidity in controlling the distance, as well as a progressive appreciation of the correct measure. o The student must learn to be 'in sync' with steps of his partner or opponent. Slowing down the footwork means an equal slowing; of any other interrelated actions.

In order to have good, strong legs, they must be worked very hard. Proper use of the legs must be constantly solicited by gesture and voice in order for the students to acquire in them the endurance, suppleness, and speed which they would normally not possess. Since the legs will fatigue long before the hand (because of the efforts demanded of them and the weight they carry), hand exercises must be alternated with leg exercises. Otherwise, the student will move incompletely and perform the actions demanded of him by making only half-hearted efforts. Leg training must be progressive and inter-mixed with rest periods. The Master should introduce exercises such as attacks made standing still, by lunge, and by advance-lunge, in which the student must avoid the attack by a measured retreat, without parrying. The student should retreat only the distance which is strictly necessary. In fencing, retreating a meter when only 20 centimetres is necessary is a grave error. A good fencer must keep his center of- gravity controlled in order to eventually combine various footwork movements with feints. During the advance, one keeps the back foot fairly close to the front foot, in this fashion gaining 20 or 30 centimetres of always keeping the muscles of the rear leg in the various conditions of readiness to lunge. When the attack is not carried out, the rear foot is returned to the guard without withdrawing the arm. In order to acquire the rhythm, balance and proper coordination between footwork and feints, the student should work with a teacher and by himself, on a fencing dummy, with attentive determination. Only with persistent practice may the student build an easy, smoothly rapid, and instinctively correct mobility game, and his/her performance is enhanced by the control of distance indispensable to the practice of modern fencing. In the beginning, use simple attacks and slow motion in order to develop the student's ability to focus his attention and to perceive changes in distance. As the student achieves the necessary neuro-muscular integration of the skill, i.e., as the "feeling" of' the correct movement develops, the speed of execution can be progressively increased until bout tempo is reached. The Master must then make every effort to fool his student, constantly varying the distance and rhythm, forcing the student to sharpen his eye for the measure and to immediately re-adjust in order to control the action. When the simple attacks are correctly executed, the Master may then demand that a preparation precede the attack. Finally, combine the preparation with a compound action and advance. Close observation is required at this stage, paying meticulous attention to rhythm, coordination, balance and distance. The Master must not accept any imperfections; he must demand exemplary execution of each action until perfection is obtained each time, or risk opening the door to the student's incorrect learning of the very basics of fencing: distance, and rhythm on the execution with a perfect balance and coordination on each action.

Chapter 7: The Lines -The Fencing Positions - The Valid Surface

The lines are portions of' space defined by the hand and blade of the fencer. We distinguish four such target area o High Outside (H.O.) o High Inside (H. I.) o Low Outside (L.O.) o Low Inside (L.I.)

The position taken by the weapon hand in these lines determines the fencing positions. There exist eight positions covered by a particular parry, engagement, and invitation.

In each of these four lines there are two hand positions; one in supination, the other in pronation. They are, respectively:

H.O sixte & tierce Point above the hand H.I quarte & prime

L.O octave & seconde Point below the hand L.I septime & quinte

The fencing positions and parries share numerical designations, both lateral and circular. In foil, the positions most used are 4, 6, 7, and 8, the supinated positions, since they provide for greater finger control and ease of deception, and permit the use of the edge of 'the blade in the execution of the parry. These four positions are the basis of modern foil fencing.

Chapter 8: The Engagement - Change of Engagement - Double Engagement

The engagement is the situation of two blades in contact. An engagement may be taken by a circular, semi-circular, or lateral movement of the blade. There are engagements for every fencing position, the most common and practical being those of 4, 6, 7, and 8. By a relatively light contact of the blade, the engagement allows the fencer to 'read' the opponent's hand, detecting movements of the blade, and facilitates all the actions which may be undertaken on the blade. However, in modern fencing the greater distance and the near-horizontal position of the weapons renders the engagement difficult or ineffective. All engagements which prepare offensive actions are generally characterized by a short contact of the blades. This allows the he rapid development of the attack, and prevents the opponent from taking actions on the blade. It may also have the object of provoking an attack by the opponent in order to take advantage of it with an action of second intention.

Technique: Mechanical Analysis The engagement is taken: o By a displacement of the weapon, with predominance of the point in accordance with the tactical intention (second intention, preparation of attack…), the movement being as short as possible. o With the intersection being on the middle part of the blade to provide sufficient rigidity; o As angular as is necessary to find the opponent's blade; o With a displacement of the hand sufficient to close the line in which it is executed, but the position varying with the actual intention. o The engagement must be firm and supple. These qualities depend on proper grip, good fingering, and good sentiment du fer (feeling of the blade). o The engagement is taken by moving under the blade in the high lines, and over the blade in the low lines.

Mistakes to Avoid o Point moving behind the hand o Contacting the feeble or weak part of the blade o Insufficient angulation on the blades o Engagement too wide o Closing the line too late or insufficiently

Pedagogic Advice o Use the engagement to fix and regulate the hand of the student, develop his fingering and feeling of the blade (weakness or strength of opponent's hand, feeling if opponent is nervous or calm), and in feeling the correctly closed line. o Utilize the engagements that demand the hand in supination and those that demand circular movements of the point

Coordinate the engagement with the footwork: o Preceding a simple attack it is made on the back of the advance. o Preceding a compound attack it is made on the front foot of the advance

In the event that the engagement is to be used with an attack on the blade such as the beat, or pressure, the engagement should be made on the front foot of the advance, the attack au fer on the rear foot preceding the final development of the simple or compound attack.

Examples: Front Foot Back Foot Attack

Engagement Beat Disengage 1-2 Engagement Press Cutover/disengage

The Change of Engagement The change of engagement is an engagement taken in a line other than that in which the engagement initially occurred. In the high lines, the point passes under the opponent's weapon, and in the low lines it passes over the blade. The change of engagement permits the fencer to remove his blade from the actions of the adversary, and to oppose the final offensive action. It may be utilized to draw an attack in order to execute a defensive second intention action. Offensively, it allows the fencer to take the blade in the line desired in order to prepare or to launch the attack.

Pedagogic Advice o Combine the change of engagement with the advance, watching, that the hand precedes the foot movement. Cultivate in the student the ability to parry after the change of engagement.

The Double Engagement The double engagement is two engagements taken in succession while leaving the hand in the same position. The first engagement is taken lightly on the foible or weak part and without seeking to close the line. The second is taken on the same part of the blade, the intensity of the contact on the blade varying with the tactical intention. The double engagement must be easy and rapid. It permits the fencer to 'fix' the hand of the opponent, and to begin actions out of distance with the additional security of controlling the opponent's blade (often used by shorter fencers for taking their measure). When the double engagement is coupled with the advance it can be executed with the first engagement on the front foot, and the second on the rear foot, or both on the rear foot immediately followed by the attack. Offensively, it is an effective preparation which permits the point to penetrate inside the guard of the opponent. The engagement may also be employed to invite the opponent's attack in order to execute a second intention action.

Chapter 9: The Simple Attacks

The attack is an offensive action which consists of threatening the valid surface of the opponent's target with the point of the blade. The simple attack is an offensive action composed of one movement of the point carried out in a single tempo, and is generally executed by lunge or fleche. There are 4 simple attacks: o The straight thrust, executed directly into the open line of the opponent. o The disengagement, executed by passing the point into the line opposite to that of the engagement by the shortest path; in the high line, passing under the opposing blade, and in the low line, passing over the opposing blade. o The cutover, completed in the line opposite to the engagement by passing the blade over the opposing point in the high lines, and under it in the low lines. o The counter disengagement, executed by deceiving the opponent's change of engagement or double engagement. It is a disengagement executed in the opposite direction from the opponent's change of engagement.

Technique: o Straight Thrust - an action which demands the complete extension of the arm followed by a lunge or a fleche. The weapon arm must be extended completely and with suppleness, the hand in supination and level with the shoulder, the blade nearly in a complete line with the arm (the point slightly lower than the hand in the high lines and slightly higher in the low lines). The touch is made by the action of the legs (by a quick extension of the rear leg) in a single energetic tempo, seeking the greatest possible speed. o Disengagement - The hand rests in supination, the V-shaped movement accomplished solely by the fingers passing the point by the shortest course over or under the blade or arm of the opponent, extending the arm, the hand even with the relaxed shoulder (opposition is maintained on the side where the opponent's blade is located), the entire action being executed in one tempo. o Cutover - The hand remains in supination as the blade is passed either over or under the opposing point., the movement is carried out by the fingers with a slight bend of the wrist and elbow; the arm is then extended completely at shoulder level, the whole action being carried out in a single tempo (opposition in the final line of attack). o Counter disengagement - Execution is mechanically the same as the disengagement. In the execution of the simple attacks, and in particular the disengagement, the role of the thumb and index finger which direct the point, is most important.

Mistakes to Avoid (see Lunge) o Moving the hand in the disengagement o Withdrawing the arm too much in the cutover o Wide movements of the point o Hand too low in the final position; point too high o Shoulder not relaxed

Utilization o Straight Thrust: Requires good basic fencing qualities: speed, precision, appreciation of distance, apropos, muscular relaxation, etc. It may be carried out in all lines and in several different manners: 1. Without the blade ƒ into an open line ƒ on the absence of the blade

2. With the blade ƒ into a line not closed, after an engagement, change of engagement, or double engagement of the opponent ƒ with opposition, dominating the blade of the opponent by adjusting the elevation of the hand, the strong (forte) to the weak part of the opponent's blade. 3. On the opponent's return to guard. 4. Into the low line, the hand in pronation with the point higher than the hand.

The straight thrust can be utilized effectively on an opponent's mistake or inattention. It can be used: ƒ with deceptive acceleration, ƒ on the absence of the point following an engagement or glide (coule); ƒ on a change of line; ƒ after a feint of straight thrust with a half-lunge; ƒ on the opponent's advance, with a change of rhythm in the execution.

o Disengagement: The preliminary contact of the blade allows the fencer to 'fix' the opponent's hand and slow the opponent's defensive reaction. Its correct execution allows the target to be hit by the shortest possible path. The action of the fingers is very important. o Cutover: Should be used against opponents whose blade position allows the cut to be made with minimal flexion of the wrist and forearm, and is almost always used only in the high lines. It offers the advantage of deceiving both lateral and circular parries, and is difficult in it self to parry (high sixte, high tierce, or high septime are recommended against the cutover in the high lines; all of those parries should be taken with the point inside). It may be done as an attack, riposte, or reprise of the attack: 1. with the blade ƒ Cutover the point (coupe par dessus la mouche), or grazing the blade of the opponent. 2. without the blade.

The cutover is vulnerable to the stop hit and the remise when it is used as a riposte. It is recommended to precede the cutover, with a preliminary action (beat, pressure, changing of engagement, etc) in order to provoke the opponent's reaction. • Counter disengagement: The execution is the same as the disengagement, and can also be used in deceiving circular parries.

Pedagogic Advice • The straight thrust is generally the first offensive action taught to the beginner since it is the foundation of fencing technique; it requires a properly extended arm followed smoothly by a correct lunge. (But if it is the more comprehensive action for a beginner, it is also the more difficult to execute in a bout since it requires extremely good speed judgement and apropos in consequence.) • Insist on good coordination of hand and leg (complete extension of the arm with good profile and slight displacement of the center of gravity forward); insist on lunging with a strong extension of' the back leg. Teach the straight thrust on the blade (with contact) to fix the hand and point of the student, and teach with absence of the blade. • In the disengagement insist on the action of the fingers being coordinated with the extension of the arm and the lunge. At first, the Master should take an engagement making blade contact in order to control the student. When the student has learned the correct execution, the disengage can be made on the Master's attempt to engage, the student deceiving the Master's blade. Finally, the exercise can be performed with footwork. • The cutover may be executed under the same conditions, the Master taking care to give the student the blade with the point low.

Use of Opposition

The Glide (Coule) The coule is a gliding action along the opponent's blade, executed while, extending the arm to prepare to launch an in incompletely closed line.

Technique: • It is executed by extending the weapon arm, and gliding the blade without pressure along that of the adversary, the point very close to the opposing guard. It is very often combined with an advance.

Mistakes to Avoid • Elevation of the hand too high • Insufficient progression and penetration of the point

The coule is an attack which is executed against fencers who present incomplete engagements. It is almost always used in the high lines and in the following cases: • on an engagement; • on an engagement or change of engagement by the opponent; • preceding the engagement, change of engagement, or double engagement.

This action may have two principle objectives: (1) to continue the attack in the same line or in the low line by lunge or fleche, in the absence of a reaction; or (2) to make an indirect attack on the opponent's reaction it is employed with greatest ease opposite-hand (right against left, left against right) fencers.

Pedagogic Advice • Insist on a complete and supple extension of the weapon arm. • Watch the coordination of the legs and weapon arm when executing the coule with an advance. • The coule requires good finger control on the part of the student, particularly when executed as a preparation of attack.

Chapter 10: The Parries

The parry is the fundamental action made with the weapon to prevent the opponent's offensive action from arriving by diverting or deflecting the opposing blade. Parries may be simple or compound. Simple Parries - Classification, determined by the displacement of the hand and the blade, is as follows: • Lateral • Circular • Diagonal • Semi-circular

Technique: The parry must: • Divert or deflect the opposing blade with the forte (strong part) and the edge of the blade. • Make contact with the edge of the blade, and with sufficient angularity of the blade (at lunge distance, arm at 45°; at riposte distance, arm at 70°). • Have equal displacement of the blade and the point. • Match the speed of the attack (be 'in sync' with the opponent). • Completely close the line but without exaggeration. • Be made without unnecessary changes in the hand position (dropping or raising the hand), i.e., "locked" into position. Description • The lateral parry meets the blade by moving the hand horizontally, neither withdrawing nor extending the hand. • The circular parry re-directs, the blade in a circular movement into the horizontally opposite line. The movement is accomplished with the fingers and light action of the wrist, the hand staying in place. • The diagonal parry carries the blade to the diagonal opposite low or high line. • The semi-circular parry deflects the attack into corresponding high or low line.

These parries can also be executed in several fashions: • Opposition Parry: Diverts or deflects the blade without roughness and maintains contact (especially at close distance or at the completion of the opponent's attack). • Beat Parry: Deflects the blade by striking it sharply; executed against the extension of the arm when the attack begins at lunge distance. • Yielding Parry: Closes the line in which the attack would normally terminate by yielding to the motion of the attack, changing the point of blade contact but not giving up contact with the blade.

There are eight parries, each with its own circular counter parry. They must be practiced (in all lines) standing still, with retreat, or on the advance or lunge. Modern fencing stresses the use of the supinated parries

Mistakes to Avoid • Point and hand not moving together in a parallel line, • Position not "locked" • Parrying with the flat part of the blade • Parrying with the foible (weak part) of the blade at close distance • Withdrawing the arm on the parry • Exaggerated rotation of the hand, particularly in quarte and septime • Insufficient angularity of the blade. • Insufficient closure of the position

Utilization Lateral parries are recommended when the direction of the attack is well judged. They permit fast ripostes. Circular and semi-circular parries are recommended when there is doubt as to the opponent's offensive. They are more difficult to deceive than lateral parries. Semi-circular parries may also be used as interception time by-closing the line through which the attack must pass, thus gaining a period of fencing time. The diagonal parry rapidly diverts the opposing blade but requires a large movement of the point and the blade. Opposition parries permit: o Complete avoidance of the remise o A direct, rapid, and efficient riposte o Detection of the opponent's reaction o Placing ripostes indirectly, compound, or with lost time action o Riposte by prise de fer (taking of the blade). The best parry shocks the hand of the opponent, slowing his defensive reaction, and permits rapid direct and indirect ripostes. The yielding parry is recommended against attacks by prise de fer. It is generally followed by a direct riposte. In all cases, the parry must be taken at the right moment. If too soon, it is easily deceived, and if too late it may be insufficient. In fact, to have an efficient defence, the parry must be chosen with careful calculation. Generally the parries are: o Wide, with the arm bent when the attack is very advanced and the penetration of the point surprises the fencer; o Narrow, with the arm extended when the attack is pre-judged, develops out of distance, or when the parry is taken on the retreat (the riposte is by lunge or fleche); o Varied in height to provide complete protection, corresponding to the position of the attacking blade (sixte-octave, or tierce-seconde). The circumstances of the bout oblige the fencer to combine the parries with footwork: on the advance, they protect against the remise while breaking the distance; on the retreat, they offer good security, particularly when there is doubt as to the offensive. Vary the parries as much as possible to avoid being deceived. REMARK: A parry which is not appropriate to the attack is called a contraction parry. (Muscular contraction and roughness in the action result from the choice of in incorrect parry.) Pedagogic Advice o First teach the supinated parries in the high line at short distance to control the student's hand and develop the feeling of the line. o To elicit good parries, the Master should put a point on the target making a realistic threat, the arm well extended, and give sufficient intensity to the action; then open the line to draw the riposte. Afterward, fix the student's hand in the proper guard position, doing so without brusqueness. o Combine parries with footwork, and work parries in the low lines, moving through all fencing positions. Insist on proper rhythm: slow parry, fast riposte. Compound Parries - the parry is compound when it is composed of two or more successive parries. Technique: o Whichever combinations are employed, each parry must respect the same principles as the simple parries. o Follow lateral parries with circular parries (or vice-versa), or circular parries followed by semi-circular parries, to avoid easy deception. o The second parry will sometimes be coordinated with a retreat to aid in seeing the attack more clearly. o Compound parries may be double (two parries of the same type taken in the same direction or not), or combination (two parries of different types taken in various directions).

o Mistakes to Avoid o Point and hand not moving together in parallel lines. o Not "locking" the first parry (closing the line). o Badly executed final parry (see Simple Parries). o Defensive reactions always the same

Utilization Compound parries permit the compound attack to be parried in the final line. They can also be used to draw a compound attack in second intention. The retreat coordinated with the second parry should take place on the conclusion of the compound attack, as the attacker's foot hits the floor on the lunge. This affords maximum security against the attack.

Pedagogic Advice o Insist on "closing the line" position of the first parry; the quality and efficiency of the compound parry depends on this o Give the beginning student some contact with the blade on the first parry in order to fix the hand correctly. o The final parry should he executed on the beginning of the opponent's lunge (on the lift of the foot). o Vary the rhythm and insist on the riposte immediately following the parry (on the contact of the blade).

Chapter 11: The Riposte and Counter-riposte

The riposte is the offensive action made by the fencer who has parried the attack. It may be either simple or compound. The counter-riposte is the offensive action made by the fencer who has parried the riposte. Simple Riposte o Direct -- Made in one tempo in the same line as the parry. o Indirect - Made in one tempo with a change of line by disengage or cutover. Execution o Immediate - After parry by opposition, beat, or yielding. o Delayed - Made with a loss of a period of fencing time as a tactical action to find the opponent's open line. These actions can be combined with all types of footwork, and can be made at various distances depending on the tactical situation. Compound Riposte Made in more than one fencing time, it can he a combination of any fencing action (one-two, high-low, etc.), and is used for the same reasons as it compound attack (see Chapter 14).

Chapter 12: The Absence of Blade

The absence of the blade means a lack of contact with the opposing blade, voluntarily or not. When it is premeditated, the absence of the blade has several objectives: o Defensively - to avoid strong offensive actions against the blade of to compensate for a weak hand. o Offensively - preceded by pressure on the foible, it may serve as preparation for a straight lunge; it is often used to draw the opponent's offensive action in order to make use of it; in this case we call the absence of invitation (or feint). When the absence of the blade is used as an invitation, it voluntarily opens a line. It is named for the final position of the hand (the invitation of quarte opens the high outside line). When done habitually, however, the absence of the blade is a mistake which may give an opportunity for a straight lunge to the opponent possessing a good sense of apropos. The absence of the blade may provoke the opponent's simple attack (or a compound attack when the fencer reacts to the attack with a parry). It may be followed by: o Parry and riposte on the simple attack (when the absence is not an invitation); o A counter-time on the attack (when the absence is an invitation); o A stop by opposition time or interception time on the compound attack. The breadth, rhythm, and speed which is given to the invitation must be adapted to the reactions of the adversary and the tactical intention of the action. To be most efficient, it must be combined with an advance, balestra, or jump. Its use is based on apropos and presupposes the use of second intention.

Pedagogic Advice o Utilize invitations in order to develop the placement of the student's hand and his feeling of the line; co-ordinate them with advances with the parries.

Chapter 13 The Feints - The Invitation - The False Attack

Feints or Invitations are movements of the arm, the trunk, or the legs, and sometimes various actions of the blade, which are designed to provoke a reflexive action (either defensive, offensive, or counter-offensive) on the part of the opponent. The feint must be made clearly, in a manner which will draw the desired reaction. It should have all the qualities of a real action: speed, precision, and apropos. Feints may be simple or compound, and may be mixed with footwork, actions on the blade, etc.

Technique: o Speed of movement must be synchronized to the opponent's reaction time. o Point should be lower than the. hand (the hand in supination) to facilitate deceiving actions when the feint is a preparation of attack. o When the feint is used as an invitation to provoke an offensive action, the point should remain somewhat higher than the hand in order to facilitate the parry. Types of Feints o Speed Feint - Quick action in the open line, useful against excitable opponents. o Combination Feint- Reinforced with a blade attack to provoke the parry. o Feint with Raised Foot -Made while front foot is raised for the lunge. o Thrown Feint - Point is thrown up and forward into the open line, the slightly exaggerated motion drawing a reaction where a smoother feint would not. o Multiple Feints are not used much in modern fencing, but a well-executed feint of straight thrust can be very effective. Multiple feints should be done with progressive extension of the arm and change of rhythm, and can at times be reinforced by a “cri de guerre” (war-cry).

Mistakes to Avoid o Action of the feint careless or imprecise o Not matching speed of feint to opponent's reaction time o Lack of definition in presentation (weaving point) The false attack is an offensive action, whether simple or compound, that is not completely developed. Its objective is to disturb the opponent, observe his reactions, his choice of parries, and his intentions, in order to take advantage of them. The false attack must display all the qualities of the attack of which it is an imitation.

It may be used: o To lead the opponent to parry and riposte and so create the opportunity for a counter-riposte, a remise, or a reprise. (in this cast, the false attack must be extended and almost touch the opponent in order to convince him of the threat.) o To provoke the opponent into a counter-offensive action and so create the opportunity for the counter-time. (In this case, the attack is less developed and more restrained.) It may be advantageous, sometimes to reinforce the invitation and to combine it with an advance. In all these cases, the fencer must take into account the degree of impression-ability of the opponent. The false attack requires apropos, intelligence, acute visual perception, and subtlety in execution. It is the basis of almost all second intention actions.

Chapter 14: The Compound Attack The compound attack is an offensive action preceded by one or more feints of attack. The feints simulate actions to provoke the opponent's parry which is then deceived for the final action. (Trompement or deception is the removal of the blade from a defensive action of the opponent, by disengagement or cutover, without withdrawal of the arm.) The feints of attack may be simple: feint of straight attack, disengagement, or cutover; or compound: feints of doublement of high-low, etc. Technique: o The feint of simple attack is executed technically in the same fashion as the real attack for which it is to he taken. It must be made clearly and possess all the qualities of a true action: speed, apropos, and precision. o The feint of compound attack is a combination of two or more feints of simple attack. The feints of attack may be executed with advance, balestra, or jump to gain distance; by half-lunge for better point penetration or with a call (stamp) of the foot (appel) in order to fix the opponent's attention. In all of these cases the change of rhythm is essential. In the execution of the feints, it is recommended that the point be presented further away from the guard to draw a lateral parry, and closer to draw a circular parry. During the deception the point should remain on the target, and progress to the target without moving too widely, arm staying extended. The speed must be matched to the opponent's speed. In an attack of several feints, each feint must move progressively toward the target.

Mistakes to Avoid o Hand in incomplete supination (lack of precision, loss of finger play) o Point not menacing the valid target o Feint insufficiently pronounced o Deception too large (wide motion) o No change of rhythm o Insufficient action of the legs,

Utilization The compound attack, although little used in modern fencing , is employed when facing an opponent whose defence can not be penetrated by simple attacks. According to the type of opponent against whom they may be used, the execution of the feints takes different forms: o Speed Feint - Rapid and incomplete to provoke an early parry. Used against nervous fencers. o Combination Feint - Feint reinforced by an attack on the blade in order to make the opponent react with a parry. It is often executed with a half-lunge. Recommended against fencers who are calm and have a good defence. o Feint with Raised Foot -executed on the lift of the front foot in the lunge against an adversary whose defensive reaction has been previously judged. o Thrown Feint - by straight thrust and with absence of the blade. Its use is advised against those fencers who avoid all contact of the blades, or who are on guard with the point low.

The displacement of the point maybe amplified in order to provoke a more pronounced reaction from the opponent, thus facilitating the deception of the parry. The compound attacks executed from advance-lunge distance must be made with coordination of the weapon arm and footwork, most effective with a change of rhythm. The compound attacks most used are the one-two (feint of disengage, disengage); the doublement (feint of disengage, deception of the counter-parry); the high-low (feint of disengage high-disengage- low); they are unlimited in number.

REMARK: The feint of attack may be made in the form of a false attack in order to execute a counter-time or a counter-riposte (second intention attack). Defensive Actions o Compound parries diverting the attack in the final line. o When the attack is anticipated: o Opposition time; o Interception time; o Stop in time (taking a fencing time on the compound attack); o Simple parry in the final line of the attack.

Pedagogic Advice o See that the hand stays in supination and the deceiving is done with the fingers, without moving the arm. o Insist on the shortest path to the target, and correct coordination of hand, arm, and legs. o The Master should parry only after complete extension of the student's weapon arm, adapting his pace to the student's speed of execution. Little by little, give more veracity to the exercise, the student finally deceiving the parry in the flight of the lunge. o In the lesson, the compound attacks are useful to develop fingering, precision, apropos, and accurate perception

Chapter 15: The Variations of the attack

There are three variations of attack: the remise, the reprise d’attaque, and the redoublement. They are used as a continuation of or retaking of the original attack in the absence of an immediate riposte by the opponent. o Remise - The remise is an immediate simple offensive action which follows an original action; it is made without withdrawing the arm after the opponent's parry or retreat, either because the latter gives up contact with the blade without riposting, or delays his riposte, or attempts an indirect or composite riposte. o Reprise d’attaque (retaking of the attack) - the reprise is a new attack executed immediately after a return to the guard position. o Redoublement - The redoublement is a new action, either simple or composite, made against an opponent who has parried without riposting, or has simply evaded the first action by a retreat or a displacement. The remise or reprise, with an opposition, can be used as a counter-attack in the face of a compound or delayed riposte. These actions can be done by second intention, or spontaneously as the opportunity arises.

Chapter 16: The Preparations of the Attacks

Preparations are those movements or actions which, without directly menacing the opponent, force him to retreat and are intended to facilitate the attack. Classification Preparations by Footwork: o Advances o Jumps o Balestra o Half-lunge (false attack) o Calls (stamp or appel) Preparations with the Weapon: o Engagements-Double engagements o Changes of engagement o Attacks on the blade o Absences of the blade - invitations Various Combinations: o Engagement - Advance o Change of engagement. - Advance o Feint - Advance o Feint - Half-lunge o Beat - Advance

The Attacks on the Blade The attacks on the blade are vigorous actions executed on the opposing blade in order to prepare and to a certain extent facilitate the offensive by the reactions which they provoke. There are three attacks on the blade: the beat (battement), the pressure (pression), and the froissement.

The Beat A strong, crisp blow struck on the blade of the opponent. Technique: o The beat is executed by a contraction of the fingers on the grip, accented by a slight movement of the wrist in the same direction. (The point of the blade must lead the action in order to make the opponent's avoidance more difficult.) The intensity of the blow is regulated by the speed and strength of the execution. The motion of the hand should be "fixated" to avoid opening the line to a counter-attack done by deception of the beat. o The beats of 4 and 7 are more natural and more easily done than those of 6 and 8. In quarte, the beat must be executed by a rotation of the wrist which must stop the action in tierce position while the point of the blade strikes the opponent's blade in a whip-like fashion. This also applies to the beat of seconde with the difference naturally being that the hand rotates further until the seconde position is reached. Correct execution of the beat requires: o Sufficient angularity of the blades. o Contact in the middle of the blades; o Predominance of point movement over hand movement; o Use of the edge; o Slight displacement of the wrist, minimum movement of the hand; o "Fixating" the hand and blade position to avoid any exaggerated opening of the line in case the beat is deceived by the opponent.

Utilization Depending on the intensity, the beat may draw several reactions from the opponent. It may: o Open the line - A strong beat on the middle of the blade may force it into a wide movement and shake the opponent's hand. It should then be followed by a straight lunge. o Draw a reaction - A dry, crisp., clear beat, high on the middle of the blade, may provoke a responding counter movement of the blade and allow for an indirect or compound attack. (It is effective against the defensive opponent but not against one who employs counter-offensive act ions.) o Fix the hand - A light beat can immobilize the opponent's hand by focusing the opponents’ attention and causing uncertainty in the opponent's defence. It may be followed by an indirect attack in the high or low line. The beat may be double or triple. The beat may be executed from an engagement, or on the preparation of the opponent (response to a pressure, beat, or change of engagement, etc.) It can be used to advantage following a slow pronounced feint to which the opponent does not react. Well made, the beat is difficult to deceive. Non-response to the beat should become habitual, and, if the hand is shaken by the beat, the fencer should move out of distance. The Pressure The pressure is made by a contraction of the fingers on the grip and a slight action of the wrist with varying intensity. In the positions of 6 and 8, the action is supported by some action of the forearm. As in the beat, the practical usage of the pressure is limited to supinated hand positions of 4, 6, 7 and 8, and the pronated hand positions of 5 and 2. The pressure must consist of a lateral or semi-circular push, with the arm more or less extended depending upon the reaction of the opponent. It must be made clearly and "locked" precisely at the desired intensity. Utilization Since it always proceeds from a contact of the blades, the pressure may be executed in the following cases: o Immediately after an engagement or change of engagement; o On the opponent's engagement or change of engagement; o After an opponent's pressure (counter pressure). According to its intensity, the pressure may: o Draw a reaction in one line in order to develop an attack in another line (lively pressure, abrupt pressure). o Fix the hand to make a direct attack or indirect attack from high to low line (light press, with brusqueness). o Open the line for a direct action (light pressure, increasing progressively). o Provoke a change of engagement in order to act up a counter-disengagement (firm pressure forcing the blade to the outside). The Froissement The froissement is an energetic strike sliding down the length of the opponent's blade from foible (weak) to forte (strong part) finishing with a whipping action. Technique: o The froissement is a brusque and prolonged pressure on the blade executed strongly by the fingers, wrist, and forearm, in order to gain control progressively over the opponent's blade. The rotation of the wrist and forearm and the rapid extension of the arm, give the impetus necessary to force the opponent's blade aside. It is important to lock the position of movement and threaten the target as much as possible during the action.

Utilization The froissement may disarm the opponent. It is generally executed against a stiff arm, or one semi-extended, with the point high. It is not used frequently in electric foil because it is somewhat impractical. Mobility of the opponent's blade the amplitude of the movement results in a lack of precision. The position of the point on the conclusion of the action is generally out of line. It may be followed only by a simple attack. The froissement executed in the positions 2, 3, and 5 are strongest.

Mistakes to Avoid (for all attacks on the blade) o Insufficient finger action o Poor contact with the opposing blade o Arm movement exaggerated o Non fixating the hand position on the conclusion of the action The execution and usage of the attacks on the blade are dependent on the distance. Coordination with footwork is also indispensable. Pedagogic Advice o The attacks on the blade develop fingering and feeling of the blade. The Master should conduct the exercises at a short distance using beats, pressure, counter beats, etc. o Watch very carefully the student's coordination of the attack on the blade and the final offensive action, since a common mistake is that the weapon arm is often not completely extended before the lunge. Break down the action whenever necessary. o Follow a reasonable progression in the combination of the attacks with footwork, and don't push the student beyond his mechanical capabilities. The student must realize that the opponent may deceive his preparation in which case he must be ready to parry and riposte.

Chapter 17: Attacks on the Preparation

Attacks on the preparation are offensive actions which are launched as the opponent prepares his attack. They may be simple or compound, executed standing still, by lunge or sometimes fleche. Utilization The important point is to surprise the opponent on the beginning or during his preparation (usually by straight attack, cutover, disengagement or counter-disengagement). In general, the attack on the preparation which is most simple, done with apropos and judgment will succeed the best. When executed late, the attack on the preparation will be considered a counter-attack (when the preparation has been finished and the conclusion of the attack has commenced). In this case, the priority will be doubtful. The attack on the preparation is difficult to parry. The fencer will be surprised being involved in his preparation. The necessity of gaining the measure in order to attack imposes demand for footwork. Approaching the opponent always presents a danger. The attack which develops at the precise instant when the opponent is moving forward while preparing with the weapon hand finds the adversary in a bad position with only one foot on the floor. The attack obliges him to terminate his forward movement in order to regain his balance and parry, or to effectively retreat. The opponent's defence will be less effective at this time. In electric foil, attacks on change of engagement or double engagement are rare. However, the fencer may give his opponent an occasion to act on the blade, and then attack on that preparation. Example: on the opponent's attempted engagement, beat or prise de fer; respond with a derobement, counter-beat, and attack indirect or direct. Feints are the preparations most used. They are vulnerable to attacks on the blade or prises de fer.

Technique: The methods of executing attacks on the preparation are exactly the same as the simple attacks. o Straight Thrust - in the line of the engagement and at the precise moment of contact, or without contact in the open line. o Disengagement or Cutover - with or without contact of the blade (high or low line), and in derobement of an attack on the blade or prise de fer. o Counter disengagement - on the change of engagement. o Simple attack preceded by attack on the blade (beat or pressure) - done on preparations composed of a feint of straight thrust or by disengagement (high or low) by counter- pressure or counter beat following an attack on the blade. o Simple attack preceded by prise de fer - on preparations by feint, the prise de fer is followed by a direct or indirect attack. Pedagogic Advice o As lessons concerning attacks on the preparation progress from technical execution to tactical application, they develop apropos (acute perceptions) and a sense of the measure.

Execution of the Attacks on the Preparation o By deception of the opponent's blade: ƒ on the engagement; ƒ on the double engagement; ƒ on the pressure; ƒ on the beat; ƒ on the prise de fer; ƒ or by attack on the blade against the opponent's feint o Executed: ƒ standing still; ƒ with an advance; ƒ during the opponent's advance; ƒ during the opponent's incorrectly made attack (lunge with bent arm). This progression can be increased in difficulty by the Master varying his preparations and by varying the speed and breadth of openings. Use exercises of several intentions.

Chapter 18: The Counter Time

The counter-time is an action of second intention which consists of drawing the opponent's stop or attack on the preparation in order to use it for a parry or riposte (either simple, direct, indirect, or compound), or for prise de fer. We distinguish two forms: o Offensive - done by lunge. against the counter-attack executed standing still. o Defensive - done against the counter-attack made with lunge or with half-lunge. The nature of the final offensive action is determined by the type of action used to meet the counter-attack (cither beat or opposition parry). Consequently, we distinguish: o Counter-time by attack on the blade (attaque au fer); o Counter-time by taking of the blade (prise de fer).

Technique: The execution of the second intention counter-time is composed of three phrases: o Preparation - of an offensive character, intended to provoke the counter attack, and may be accomplished by footwork (advance, balestra, half-lunge, etc.), blade work (engagement, absence of' the blade, attack on the blade, feints, invitations), or any combination of the above. Examples: engagement with advance, beat with balestra, feint with advance, etc. These actions must be well coordinated, and simulate the beginning of the attack and be given sufficient verisimilitude to lead, the opponent to counter-attack. o Defensive action - intimately bound with the offensive action, it must thwart the counter-attack, and may be done by beat or opposition, with a slight extension of the arm to establish good contact for an attaque au fer or prise de fer. o Final offensive -the riposte, which can be done standing still by lunge, or by fleche. It may be: ƒ direct after a beat parry; ƒ indirect after an opposition parry, or pressure; ƒ by prise de fer after an opposition parry.

Mistakes to Avoid o Preparation insufficiently engaged (not convincing) o Preparation badly executed, poor coordination between weapon arm and legs o No change of rhythm o Lunging or fleching too soon

Utilization The counter-time is an action of Second intention. The preparation requires excellent tactical sense and judgment. The defensive action requires on its part a good appreciation of distance and tactical soundness. As for the final offensive action, it naturally depends on the defensive action which precedes it, and on the opponent's reaction following the parry of his counter-attack. In all cases, it must be simple and very rapid in order to be effective. The essential qualities which characterize the execution of the counter-time are precise utilization of distance and a controlled change of rhythm. Second intention tactics make demands on all the technical and tactical qualities of a fencer, but also, and above all, on his intelligence. Defence o Parry the counter-time in the final line o Avoid the counter-time by second intention counter-attack (feint in time) o Remise or reprise of the counter-attack, if the conclusion of the counter-time is compound or done by prise de fer (this last defence is not recommended in foil) o Attack of the preparation

Pedagogic Advice o Watch for coordination between weapon arm and legs, and for the change of rhythm. Choose simple actions, and then when the technique is sound, use multiple intention exercises. Give the student the initiative, and conduct the lesson “silently,” the student using actions which follow from the Master's preparation. o The Master should keep an exact distance, attempt to touch on the counter-attack, and occasionally parry the final attack to give the student an opportunity to counter-riposte. The Master should not always counterattack and should occasionally deceive the parry in order to control the student's balance and the correctness of his reflexes.

Chapter 19: Taking the Blade The prises de fer (taking the blade) are actions on the opponent's blade designed to control the blade and remain in contact with it until the conclusion of the action. There are four prises de fer: the opposition, the liement (bind), the envelopment and the croise. They are classified as preparations of the attack. Technique: o There are several general conditions which must be present for all the prises de fer. They must be executed: ƒ against an extended arm or an extending arm; ƒ on a blade nearly horizontal; ƒ by seizing the opposing blade with the forte and guard of the attacking weapon, ƒ sometimes by a slight extension of the arm; ƒ point above the plane of the opponent's weapon in the high line and below the plane of the weapon in the low line, ƒ by keeping contact with the blade throughout the execution; ƒ with an amount of force in proportion to the resistance to be overcome; ƒ by keeping the point on the target throughout the execution.

Mechanical Analysis

The Opposition - takes the opponent's blade in a given line then progressively diverts the blade with an extension of the arm, remaining in the same line for the conclusion of the action. It can be done in all lines, but most often in 6 and 8 (4 and 7 against left-handed fencers). Opposition with the straight thrust is a strong attack. The Bind - takes the blade in any line, high or low, and by a partial extension of the arm which gains progressive control of the blade and carries it to the diagonally opposite high or low line for the conclusion of the action. It is executed in all lines, but particularly in 4/8, 6/7 and vice-versa. The Envelopment - takes the blade in any line, and remaining in that line, sweeps the opponent's blade in a complete circle with the point, with progressive extension of the arm until the conclusion of the action. It may be used in all lines, like the opposition, but particularly those which move the blade to the outside of the body. It is not very practical in electric foil as modern fencing is oriented toward simple actions supported by better physical conditioning and greater mobility. The Croise - takes the blade in a given line and by a slight extension of the arm, carries it to the corresponding high or low line. It may be executed readily from 4 to 7, or 5 to 7 (from 6 to 8 against a left-handed fencer), particularly as a riposte.

NOTE: On the conclusion of the action, the application of opposition and the elevation or lowering of the hand are just proportional to the resistance to be overcome, no more nor less.

Mistakes to Avoid o Prise de fer too wide (likely to be deceived) o Lunging too soon o Poor position of the hand in the conclusion of the action o Poor coordination of hand, arm, and legs o Releasing the blade before the conclusion of the action

Utilization The prises de fer are, on the whole, little used on offensive in electric foil because the opposing blade is difficult to find, and the duration of time needed for their execution leaves them vulnerable to a derobement (deception). As ripostes, however, they are very effective, particularly against the remise or the attack by fleche. When the prises de fer are not an integral part of the attack they are done without complete extension of the arm, and with much intensity, in order to provoke a specific reaction from the opponent. They are followed in this case by an indirect or compound attack. They are most effective when combined with footwork. The execution of the prises de fer varies somewhat with the distance: o Short Distance - the arm remains somewhat bent, or is extended only after the execution of the prise de fer. o Lunge Distance - the lunge starts after the prise de fer has been taken if the action is an integral part of the attack (e.g. opposition-straight attack, bind-straight attack). o Advance-Lunge Distance - the prise de fer is finished when the back foot regains contact with the floor. It is mandatory to be in control of the opponent's blade before beginning the lunge. To reinforce their effect and facility, the prises de fer can be preceded by an engagement, change of engagement, or double engagement. Different types of prises de fer can he combined without releasing the blade, making derobement difficult. (In fact double prises de fer, compound prises de fer, and their combinations are often used in epee.)

REMARKS: When a second prise de fer is executed in the same line after the deception of a first, it is said to be a double prise de fer. When a second prise de fer is executed in a different line, it is said to be a compound prise de fer and is preferable for utilization in a counter-time action. The prise de fer in the high lines may be done with a fleche, since it easily permits contact above the plane of the weapon. Defence against the Prises de Fer o Opposition parry in the final line of the prise de fer o Yielding parry o Deceiving without contact o Counter-parry with retreat

Pedagogic Advice o Teach the prises de fer early, since they develop proper hand placement, feeling for the line, and coordination. o Break down the mechanical action into its; respective parts and follow a reasonably slow progression. o Insist on correct contact points (forte and guard). o The Master should extend his arm completely, and not yield before the prise de fer is finished. The student should execute the prise de fer at first against an extended arm, and later against an extending arm.

Chapter 20: The Fleche

The fleche is an offensive action executed from the guard position by the extension of the arm followed by a complete unbalancing of the body. Technique: Mechanical Analysis o Extension of the arm (see Lunge). o Off balance caused by a horizontal displacement of the pelvis; the weight of the body passes onto the front leg progressively until the balance is broken, the rear foot remaining lightly on the floor. o Complete and rapid extension of the front leg and foot, the body turned well sideways and moving in the same line as the front leg. o The rear arm thrown back and down. o In flight: the point touching the target on the final extension of the front leg, the rear leg crossing quickly to catch the body as the front foot lands the floor. o Placement of the rear foot on the ball of the foot. Various methods are used to initiate the fleche. o From the guard position: ƒ by successive shifting of balance ƒ by bringing the rear foot up to the front ƒ by bringing the front foot to the back ƒ by passe avant ƒ by small advances becoming more and more rapid and closing the distance between the feet. o From half-lunge, the arm remaining extended. o From the lunge, the arm extended, the back foot being moved up to the front foot. Mistakes to Avoid o Extension of the leg before unbalancing o Insufficient unbalancing o Insufficient profile o Lifting and placing the back foot too soon o Incomplete extension of the front leg after unbalancing

Utilization In foil, the fleche may be employed in the following cases: o against fencers who retreat systematically o with a delayed riposte on the opponent's return to guard o on the opponent's preparation o into a closed line by prises de fer, (opposition). Generally, the fleche is executed from advance-lunge distance. In electric foil, the fleche is used mostly in the high line, since it permits the control of the opponent's blade most easily. It is recommended only for use with simple blade actions whether on the attack, riposte, or second intention (counter-time).

Pedagogic Advice o Have the student begin at riposte distance, making the touch by simply extending the arm. Then, the fencer remains in the same place while the Master retreats a gradually increasing distance, forcing the student to gradually increase his own forward motion by a full extension of the front leg. o Delay the placing of the rear foot. o Use the various situations mentioned above. o Don't teach it too soon. Chapter 21:The Counter Attacks

The counter attack is an offensive or defensive action, executed against the attack of the opponent. It has two characteristic forms: o Stop in Time - an offensive action which takes a fencing time on a badly executed attack. It may be direct or indirect by derobement and can also be interpreted as an attack on the preparation. o Stop with Opposition - a defensive-offensive action, which takes a fencing time by closing the line through which the attack must pass (interception time), or in which the attack will terminate (opposition time). Technique: o Stop Thrust - consists of an extension of the arm, advancing, retreating, standing still or by half-lunge. The hand is in supination in the high line but sometimes in pronation in the low line. It is usually executed on the opponent’s advance, preparation, or beginning the attack. Executed by derobement, its technical execution corresponds to that of the simple or compound attack, from which it takes its name (by disengage, one-two). The derobement demands precise finger-play and finesse with the point The stop may be done with an esquive (evasion; any body movement which removes the target from the attack) while making a direct counter-attack by: o Passata di sotto - extending the arm, unarmed hand resting on the floor; o Inquarrata – a sideways displacement by making a 1/4 turn, pivoting on the front foot and stepping behind it with the rear foot while extending the arm; o Reassemblement - backwards or forwards (arriere or avant).

NOTE: Use caution in the displacement of target during a bout: an incorrectly executed displacement may result in a touch. o Stop by Opposition and Interception ƒ Opposition Time - made by extending the arm (the hand usually in supination), leading with the point and firmly closing the line in which the attack will terminate. It can be executed on simple attacks (principally those terminating in the outside lines), and on compound attacks. Example: On attack by one-two, starting in the high inside line, opposition time is in sixte (6). On attack by doublement, starting in the high inside line, opposition time is in quarte (4) ƒ Interception Time - executed by extending the arm and closing the line through which the attack must pass (during one of the opponent's various feints) before the final movement of the attack has begun. It can be done standing still or with a half-lunge and is used on indirect or compound attacks. Example: On attack by one-two in the high inside line, the interception time is in septime (7). On attack by doublement in the high inside line, Interception time is in octave (8). NOTE: In the high lines, use sufficient opposition and elevation of the weapon hand.

Mistakes to Avoid o Counter-attacking too late o Making the stop into the opponent’s closed line o Contact of the blade on the attempted derobement

Utilization The counter-attacks must not be employed unless the attack is known with reasonable certainty. They must occur just at the beginning of the attack and avoid the touch of the attack. o Stop Thrust - used on simple or compound attacks which are poorly done (arm, withdrawn), or on attacks by advancing. The derobement is used: ƒ on all preparations by engagement, change of engagement, or double engagement; ƒ against the beat or froissement; ƒ on the prises de fer; ƒ as a defence against the opponent's counter-time (feint in time). o Stop with Opposition - demands good judgment and perfect technique. Its use is difficult and therefore rare. To reinforce its efficiency, the half-lunge is advised, going into the face of the attack to achieve better penetration.

Defence Against fencers who habitually counter-attack: o attack by simple actions from lunging distance; o utilize second intention, provoking the counter attack in order to take advantage of it by counter-time (Example: parry and riposte). It is difficult to parry a well-executed opposition or interception time counter-attack.

Pedagogic Advice o The counter-attack requires judgment and apropos, qualities which are best developed in the bout and in the bout lesson. o Leave a certain amount of initiative to the student when doing exercises with several intentions; the Master executing his actions with as much realism as possible. o Do not abuse the counter-attacks; they must always be well-judged and justified by the opponent's behaviour.

A SIMPLE GUIDE TO FENCING TERMS

AIDS The last three fingers of the sword-hand COUNTER-TIME A movement of second intention ABSENCE OF BLADE When the swords are not in contact COVERED A position which closes the line of engagement ATTACK ON THE BLADE A preparation of attack by beat, pressure or froissement CROISE A taking of the blade which carries the opponent's blade from high to low line on the same side as the engagement, but does not, as in the bind, carry it diagonally across BALESTRA A method of attacking with a jump forward CUT-OVER A form of disengagement which passes over the blade BEAT A preparation of attack CUTTING THE LINES Describing circular parries made other than in the line of engagement BIND A preparation of attack which carries the opponent's blade DELAYED Generally refers to a riposte which follows a parry after a pause diagonally across from a high to a low line, or vice versa BREAKING GROUND Stepping back with both feet DEROBEMENT Blade movements executed with an extended arm which evade the opponent's attempts to beat or take the blade BROKEN TIME When two movements are deliberately not made to follow DETACHMENT A parry, which by its crispness leaves the blade immediately it immediately upon one another has met it CADENCE Rhythm in which a sequence of movements is made DEVELOPMENT The combined actions of the extension of the arm and the lunge CEDE Partially to give way to an opposition DIRECT Term denoting that an attack or a riposte has been delivered in the line of engagement CENTRAL GUARD A position of hand between two lateral fines DISENGAGEMENT A simple attack, or riposte, which consists of leaving the line of engagement to go into the opposite one CHANGE OF ENGAGEMENT The action of engaging in a new line DOUBLE PRISE DE FER A succession of takings of the blade where contact is lost between each one CLOSE QUARTERS When two fencers are close together, but can still wield their ENGAGEMENT The crossing of the swords swords correctly COMPOUND ATTACKS Attacks composed of one or more feints ENVELOPMENT A taking of the blade which, by describing a circle with both blades in contact, returns to the line of engagement COMPOUND PRISES DE FER An uninterrupted succession of takings of the blade FALSE ATTACK An attack which is not intended to land COMPOUND RIPOSTES Ripostes composed of one or more feints FEINT A movement of blade meant to resemble an attack and whose purpose is to draw a reaction COUNTER-ACTION PARRIES A circular parry taken in the wrong line FENCING MEASURE The practical distance between two fencers COUNTER-DISENGAGE A simple offensive action deceiving a change of engagement FENCING POSITIONS The classical positions in which the sword arm and sword may or a counter-parry be placed COUNTER-OFFENSIVE The stop-hit and the time-hit F.I.E Federation Internationale d'Escrime ACTIONS COUNTER-PARRY A parry describing a circle FIELD OF PLAY The arena which includes the piste and its extensions

From “Fencing with the Foil” by Roger Crosnier. Faber& Faber, London, 1951 A SIMPLE GUIDE TO FENCING TERMS

FIRST COUNTER-RIPOSTE The attacker's first riposte PRINCIPLE OF DEFENCE The opposition of forte to foible FLECHE An action of legs permitting the fencer to reach his opponent PROGRESSIVE ATTACKS A method of executing certain compound attacks by running instead of lunging FOIBLE The half of the blade nearest the point RECOVERY OR RETURN TO The action of returning from the development, ie returning to GUARD guard FOIL Originally the practice weapon. In modern fencing has REDOUBLEMENT A renewal of attack, while on the lunge, com- one or more become a basic and competitive weapon blade movements FORTE The half of the blade nearest the guard REMISE A renewal of attack, while on the lunge, made by replacing the point on the target in the line of the parry' FROISSSEMENT A preparation of attack by grazing the opponent's blade very REPRISE A renewal of attack preceded by a return to guard strongly and sharply, thus deflecting it GAINING GROUND Stepping forward with both feet RIPOSTE The offensive action which follows a successful parry GRIP The manner in which the sword is held SECOND The defender's second riposte COUNTER-RIPOSTE GUARD A piece of metal for the protection of the fingers, which is SECOND INTENTION A premeditated action dealing with a provoked movement inserted between the blade and the handle IMMEDIATE Generally refers to a riposte which follows a parry without a SEMICIRCULAR PARRY A parry describing a half-circle from high to low line, or vice pause versa INDIRECT Any single offensive movement of blade which, together SITTING DOWN The bending of the knees in the on-guard position with the direct attack, compose the simple attacks JUDGES Those whose duty it is to watch for hits and assist the SIMPLE ATTACK One which is direct, or indirect president LINES Theoretical areas corresponding to the fencing positions STANCE The position of feet and part of the on-guard position LUNGE A classical leg action enabling the fencer to reach his STOP-HIT A counter-offensive action which, to be valid, must land opponent before the attacker's final movement MANIPULATORS The index finger and thumb of the hand hold the sword STRAIGHT-THRUST A direct and simplest form of attack ON GUARD The position of feet, body, and arms adopted by the fencer SUCCSESSIVE PARRIES Several parries following one upon the other until the preparatory to actions of offensive or defensive nature attacking blade is found ORTHOPAEDIC A colloquial term applied to moulded handles TAKING OF THE BLADE A preparation of attack PARRY Defensive action with the sword of deflecting an attack TO TIME To seize an opportunity and to execute a stroke at the correct moment PISTE A limited area within which the fencers fight in competitions TIME-HIT A counter-offensive action which anticipates and intercepts the final line of the attack, thus covering the executant PERIOD OF FENCING TIME The time it takes to execute a movement of blade, body, or TROMPEMENT Offensive blade actions which deceive the opponent's parries foot POMMEL A conical piece of metal which serves the dual purpose of TWO-TIME That which is executed in two periods of fencing time locking the different parts of the sword and acting as counter-weight to the blade PREPARATION OF ATTACK A blade, body, or foot movement which opens the way for UNCOVERED A position where the line of engagement is not closed the attack PRESIDENT The umpire in fencing PRESSURE A preparation of attack made by pressing upon the opponent's Made

From “Fencing with the Foil” by Roger Crosnier. Faber& Faber, London, 1951

TEACHING GROUPS

Check area for dangers – things people could be injured on, slip on – water, run into etc If possible move or fix problems Emphasize fencing safety to group Get their attention – Use a whistle or loud voice Take control of the group Gather group in when giving instructions. Stand so they can hear you When addressing group make sure they have their back to distractions – other groups, sun etc Identify “trouble makers” – talking/interrupting Learn the names of participants (vital when teaching 8 – 10 week classes) If people talking and don’t know name stop and look at them. Move students who are constantly talking ie separate During class make eye contact with each person 2-3 times Have a global view of the group – don’t spend too much time with anyone student Instructions/Feedback should be short, giving student a mental picture of how to/what to do If this doesn’t work demonstrate yourself or show them (by doing action physically with them) Give the group and individuals +ve feedback Plan each session, be flexible/adaptable because; o group size may increase/decrease o weapons break o shorter/longer session o students poor attention Correct faults 1. Speak to entire group and id problem 2. Do 1 again while looking at the relevant people 3. Point or use name and id problem

DISCIPLINE (steps to take) The poor behaviour of 1 or 2 students shouldn’t impact on the learning/enjoyment of the activity of the rest of the group o Identify trouble maker o Learn their name & Use it o Give 1 warning o Sit them out/Speak to them are 1-2 minutes and group is occupied o Ask them if know why out/restate safety/Ask if want to join back in? o If constant problem speak with teacher/parent

STRUCTURE OF THE FENCING LESSON FOR THE BEGINNER LECTURE BY ALEXANDER ROMANKOV TO OFMA STUDENTS(MELBOURNE) 2.4.93

In all weapons fencing starts from the stance and how to hold the weapon. After that one learns the footwork and only then can they start to take lessons from the coach. The main thing that the coach needs to know is what to call each action he gives to the pupil. Secondly, he must demonstrate the action to the pupil. The pupil's eyes have to adopt (see) the action. The coach has to know how to execute the movement and to demonstrate it to the pupil consistently and correctly. If the action is wrong the pupil will copy it wrongly, like a young monkey. What is taught depends on the level of the fencer. At the start, the coach teaches only basic skills.

THE BEGINNER'S LESSON 1. How to make the hit on the target • coach shows the pupil, then asks pupil to do it • the arm extends first, then the legs follow • when coach starts to teach the hit, he should always correct the otherwise there will be no improvement firstly teach the bit from the static position, then with a step forward • next teach the hit with a lunge

2. Hit by Disengagement • first teach the disengagement on its own in static position • coach tries to take pupil's blade and pupil does disengagement using the thumb and forefinger only and the handle must be in the groove of the palm(foil/epee) • all teaching can start from foil, but it is a good idea to start sabre fencers with sabre. They will never then be foil fencers. • to teach disengagement, coach remains static, pupil does disengagement from one line to another • the point moves as much as possible and the fingers as little as possible, the reason is anatomic beginner's muscles are not yet properly prepared to perform this movement properly, start big and it will becomes smaller 3. Parries • teach the two simple parries, 4 and 6 • teach 4 first -pupil is static and coach extends to hit him, pupil does correct movement and ripostes • in the French system of fencing, parry 4 is taught with the hand supinated. Romankov says that in modern. fencing it is taught with the thumb almost on top. Why? Ten to fifteen years ago the fencing, distance war, longer. In modern fencing the distance is shorter the actions are faster, therefore the fencer needs short and fast movements. The movement from supinated 4 to 6 is too long and slow. • for the right-handed. fencer, the thumb is at one o'clock when in 6 position, for the left-handed fencer the thumbs at 11 o'clock • in 4 position, the thumb is at 12 o’clock • when the coach teaches 4 parry, he should ensure that the ripostes forward and returns the hand to 6 position on the way back to 6watch the pupil's shoulder very carefully it should not be lifted. • ensure that the elbow is in line with the hand and not bending out • when the hit is made, the hand should not go up, but remain in front of the shoulder • another common error made by beginners is to pull the arm back when parrying. Do not let them do this.

• pupils can be taught to hit in two ways (1) hit direct after parry, or (2) hit with disengagement on coach's pressure • it is very important to check everything when the pupil hits ie stance, lunge, arm, shoulder etc.

4. Parry with direct riposte. coach teaches all parts of this action independently (1) coach talks about parries and teaches parry 4 (2) pupil then learns riposte (3) pupil then learns lunge with riposte (4) pupil hits coach - the hit lands as the front heel hits the floor – the hit should never be late, but can be early. Coach then links it all together; after that, can be taught with movement e.g. pupil tries to hit coach with direct attack preceded by a step forward, if coach parries 4 pupil disengages and hits on open target, with or without lunge pupil makes choice -such exercises help to teach the pupil tokeep distance

5. Feint attack. pupil feints, if coach does nothing, hits direct. If coach parries4, pupil disengages.

This lesson should be given to the student 10 to 15 times (depending on the student). If the pupil is bored change the order around but maintain basically the same content, if it is always exactly the same the pupil will not learn to be flexible and adaptable. The coach can change the distance, the combinations of exercises for example.

Romankov had the same lessons after 30 years of fencing that he had as a beginner. The coach must help the pupil to adapt to fencing. He Must give rest breaks during the lesson and vary the exercises. Remember a beginner cannot hold the foil for long and there is no benefit trying to force it. Repeat exercise 5 to 8 times then give them a break.

WARM-UP FOR BEGINNERS • pupil extends the arm(3/4), then hits with, full extension • coach drops arm, pupil extends with step back. Then with forward.

WARM DOWN • very short • a few disengages with step forward to bring the pupil down, to the level of arousal at the start • pupil keeps distance with foil down to rest arm.

IMPORTANCE OF THE REAR ARM, • beginners must hold it up correctly as it helps keep them in the fencing line • must teach beginners in classical technical style. Everyone will develop an individual style as they develop. Some people do not hold their rear arm up, but they must throw it back when they lunge, for speed balance.

SEQUENCE OF EXERCISES coach teaches exercises in attack firstly in the lesson, followed by exercises in defence these are alternated throughout the lesson.

REMEMBER- it is a very long process and takes a lot of time, patience and work every day to take a fencer from the basic level to the top.

N.B. The elite level lessons will be discussed at a later date

Notes by Helen Smith (National Development Officer). 2/4/93.

OCEANIA FENCING MASTERS' ACADEMY

GUIDELINES FOR THE STRUCTURE OF THE FENCING LESSON FOR THE INTERMEDIATE LEVEL TO INTERNATIONALLY COMPETITIVE FENCER. (Notes by Helen Smith after discussion with A. Romankov and V. Sher on 29.7.93)

1. WARM-UP.

2. MAIN BODY OF THE LESSON. This part of the lesson includes the skills that the coach has to give to the pupil to develop them as a fencer in the long term.

SIMPLE ATTACKS combined with all types of footwork. e.g.if theme of lesson is "Beat Attacks". Beat, straight thrust; beat, disengagement: beat cut-over- with advance lunge, advance-lunge and fleche. Coach sometimes parries the attack and ripostes, pupil parries and does counter-riposte.

Coach checks how well pupil carries out the attack. e.g. Coach gives the blade, pupil beats, coach remises, pupil continues the attack(foil/sabre) or parries 4, riposte with opposition(epee). On pupil's attempted beat, coach derobes and attacks, pupil parries 6 and ripostes.

SIMPLE DEFENCE Pupil parries coach's attack with either 4 or C6. Ripostes direct or indirect, according to coach's reaction after being parried

MULTIPLE CHOICE Pupil parries coach's attack with either 4 or C6 and ripostes either direct or indirect. Pupil may derobe the coach's attempted beat and hit. If coach gives the blade, pupil does beat attack with straight thrust. If pupil's attack is parried, parries coach's riposte and does counter riposte indirect. etc, etc.

WARM-DOWN

NB: Compound Attacks Preceded by a Beat and Successive Parries would be the theme of other lessons.

LOCATING BREAKDOWNS IN THE ELECTRICAL EQUIPMENT

PROCEDURE- some notes.

INITIAL CHECK 1 . Mains switch ON. 2. Mains lead plug is connected to box. 3. Box is turned ON. 4. Weapon select switch is turned to appropriate weapon. 5. Ground leads into box are not' reversed. 6. Ground leads are plugged into spools. 7. Body wires are plugged into spools. 8. Body wires are plugged into epees

Now proceed to weapons.

EPEE 1. Test points by pushing in. If weapon does not register, disconnect guard plug and press the two prongs closest together onto guard. If light comes on, problem is epee. If light does not come on, half disconnect body wire from spool, join two prongs closest together with key. Then test both holes on spool plug with two keys, if light comes on, problem is in body wire. If the light still does not come on, follow it back to the box, or as far as necessary. You can use keys to test the circuit between the two holes/prongs closest together.

2. Hit opposite guards to test earth circuit. You can test the earth circuit by touching the middle prong of the plug to the earth plug at the other end. If light comes on when tip hits opposite guard, could also be dirt/rust on tip of epee or on the epee guard. If it is neither of these problems, check 20mm prong with tip of opposite weapon (pull half way out) in guard / at spool plug at ground lead to spool at ground lead to box (light should NOT come on).

FOIL 1. Test valid circuit- small prong of body wire to crocodile plug of opponent. 2. If weapon does not register, unplug body wire, place key between two prongs of body wire. If continuous off-target, place two prongs of body wire on guard: if it stops, weapon is faulty: if continues, go further back towards box with keys. Place keys in the two holes furthest apart.

THE FENCERS` WORKBOOKS FOIL, EPEE, SABRE, GENERALITIES

Fencing Manuals for Coaches and Athletes

These translations from the original French text are a must for both coaches and fencers alike. They are -full of valuable information and food for thought about the acquisition of skills and tactics in each weapon and about the teaching and learning of the sport in general.

Each component of the game is examined and explained in detail from the point of view of technique, faults to avoid, tactics and teaching recommendations.

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TITLE No. OF COPIES PRICE AMOUNT The Fencers’ Workbook - Foil $20.00 $ The Fencers’ Workbook – Epee $20.00 $ The Fencers’ Workbook – Sabre $20.00 $ The Fencers’ Workbook - Generalities $20.00 $ POSTAGE $10.00 $10.00 TOTAL $