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The Cavé in French Swordsmanship Patrick T
COLUMBIACLASSICALFENCING.COM The Cavé in French Swordsmanship Patrick T. Morgan Introduction French fencing masters wrote about the cavé (pronounced cahv-ay) as a distinct fencing action. In French, caver means to cave in or collapse. The cavé thus described how a fencer would change or position his wrist or body to create a sharp angle—“caving in” from, say, a straightened position— for a specific fencing purpose, whether offensive or defensive. Sensibly, then, the cavé is sometimes referred to as angulation today. But that term doesn’t always cover all the ways the French writers used the cavé. This is because, as explained below, you can also cavé by using no angulation. Three General Ways to Cavé For the French, there were three ways to cavé. From the on-guard position, you could cavé (1) at the hips or (2) with your rear leg. You could also (3) cavé the wrist of your sword arm, which itself was possible in three different ways. These methods were variously defensive or offensive. Importantly, these were not recommendations so much as taxonomy: as we’ll see, some of these ways of “cavé-ing” could get you killed. 1. The Cavé at the Hips Danet discussed the “cavation” of the body in the second volume of L’Art des Armes. The cavé of the hips is one of two types of esquive—that is, a movement or displacement of the fencer’s target area to evade a thrust—that Danet identified. As Danet described it, the cavé at the hips occurs by “lowering the shoulders and completely straightening the right knee” (en baissant les épaules, & dépliant tout-à- fait le genou droit). -
The Fight Master, January 1988, Vol. 11 Issue 1
Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors 1-1988 The Fight Master, January 1988, Vol. 11 Issue 1 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/fight Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons JANUA RY 1988 American Fencers Supply Co 1180 Folsom Street San Francisco CA 94103 415/863-7911 UNIVERSITY OF NEVADA, LAS VEGAS JOURNAL OF THE SOCIETY OF AMERICAN FIGHT DIRECTORS January 1988 Volume XI number I PATTON AND HIS SABER by Charles Conwell 15 THE METAPHYSICS OF STAGE COMBAT by Mark Olsen 19 WHEN STYLES COLLIDE by T. J. Glenn 223 3 SWORD BELTS AND FROGS by Rod ~asteel 28 TOUCHE 229 9 Oregon Shakespeare Festival 330 0 Coriolanus at the McCarterMccarter Theatre 31 Trinity TrinityRep Rep 31 Scaramouche 332 2 The Three Musketeers 32 True West 333 3 The Rivals .at Berkeley Rep 333 3 The Hairy Ape at Berkeley Rep 334 4 Purloined Poe at the Lifeline 334 4 Richard III at the Guthrie 3 Editor's Comments 4 Vice President's Report 6 Treasurer's Report 6 Workshop Coordinator 7 Film Coordinator 35 Letters 337 7 Points of Interest 442 2 Society News SOCIETY OF AMERICAN FIGIIT DIRECTORS TIIE FIGIITMASTER Journal of the Society of American Fight Directors President Joseph Martinez Vice President Drew Fracher Editor Linda Carlyle McCollum Treasurer James Finney Associate Editor Olga Lyles Secretary Linda McCollum Assistant Editor Todd Tjaden Layout Editor Gregg Hillmar The Society of American Fight Directors was founded in May, 1977. -
THE HISTORY of the RAPIER the Culture and Construction of the Renaissance Weapon
THE HISTORY OF THE RAPIER The Culture and Construction of the Renaissance Weapon An Interactive Qualifying Project Report Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science By Robert Correa Andrew Daudelin Mark Fitzgibbon Eric Ostrom 15 October 2013 Submitted to: Professor Diana A. Lados Mr. Tom H. Thomsen Abstract At the end of the Middle Ages, weapons began to be used not only on the battlefield, but for civilian use as well. The rapier became the essential self-defense weapon of the “Renaissance man.” This project explores the evolution and manufacture of the rapier through history. This cut-and-thrust sword was manufactured by artisans who had to develop new methods of crafting metal in order to make the thin, light blade both durable and ductile. To study this process, a rapier was constructed using classical methods. Upon the completion of the replica, its material properties were studied using a surface microscope. The project also included contributing to the WPI Arms and Armor website. ii Acknowledgements The authors would like to thank Professor Diana Lados and Mr. Tom Thomsen for creating the Evolution of Arms and Armor Interactive Qualifying Project. Their guidance and assistance were invaluable throughout the project experience. A huge thanks also to Josh Swalec and Ferromorphics Blacksmithing. The expertise of Mr. Swalec and others at Ferromorphics was key to learning smithing techniques and using them to construct a replica of a rapier in the Renaissance style. Mr. Swalec opened the doors of his shop to us and was welcoming every step of the way. -
Competition Rules and Regulations
Competition Rules and Regulations as at 1 January 2017 4 COMPETITION RULES - 01 GENERAL ASPECTS COMPETITION UIPM COMPETITION RULES AND REGULATIONS as at 1 January 2017 table of CONTENTS COMPETITION RULES 01MP - General Aspects Pg. 6 02MP - Fencing Pg. 30 03MP - Swimming Pg. 52 04MP - Riding Pg. 62 05MP - Laser-Run Pg. 80 06UIPM - Biathle Pg. 108 07UIPM - Triathle Pg. 116 EQUIPMENT REGULATIONS 01MP - General Aspects Pg. 123 02MP - Fencing Pg. 124 03MP - Swimming Pg. 138 04MP - Riding Pg. 140 05MP - Laser-Run Pg. 144 6 COMPETITION RULES - 01 GENERAL ASPECTS COMPETITION 01 GENERAL ASPECTS ABBREVIATIONS BAD Business Affairs Delegate NF National Federation CCh Continental Championships NTO National Technical Observer CISM Conseil Internationale du OG Olympic Games Sport Militaire PWR Pentathlon World Ranking EB Executive Board TC Technical Committee FOP Field of Play TD Technical Delegate HQ Headquarters TM Technical Meeting IJ International Judges UIPM Union Internationale de IOC International Olympic Pentathlon Moderne Committee WCC World Cup Competition LOC Local Organising Committee WCF World Cup Final Mins minutes WCh World Championships MD Medical Delegate YOG Youth Olympic Games MP Modern Pentathlon UIPM COMPETITION RULES AND REGULATIONS as at 1 January 2017 7 PART A MODERN PENTATHLON - CONTENTS COMPETITION RULES - 01 GENERAL ASPECTS COMPETITION 1.1 SPHERE OF APPLICATION 1.2 1 Age Groups 2 Calculating age AGE GROUPS 1.3 1 The Five Disciplines 2 Disciplines in Youth Competitions THE EVENTS 1.4 1 The Official UIPM Competitions in 3 OG -
Fencing Club By-Laws: Ranking System
Fencing Club By-Laws: Ranking System Ranks are marked by colored bands beneath the shoulder patch. Testing occurs on individual occasions as determined by the Head Instructor. Members wishing to test can do so only if the Head Instructor offers to perform the testing. If a member wishes for a testing, the candidate cannot bring the request to the Head Instructor's attention, but must instead convince a member in good standing of at least the rank he/she wishes to test for (and at least the 2nd rank) to act as a sponsor on his/her behalf. This sponsor is also responsible for making sure the candidate is adequately prepared for the rank testing. When the testing occurs, all actions requiring 2 people will be performed by the candidate and her/his sponsor. The Head Instructor (the tester) will direct the actions and observe so as to score the candidate. The candidate should not be penalized for mistakes made by the sponsor; instead, the Head Instructor should ask them to repeat the action. Each rank confers upon the fencer a set of permissions to accompany their new rank. First Rank – Yellow Band - Beginning Foil Requirements: A) Length of attendance: Minimum attendance time before testing: 15 practices, with discretion for those with previous experience B) Candidate should have participated in at least two assaults previously with instructors. The Testing: The purpose of the 1st rank testing is for the candidate to demonstrate the knowledge and ability needed to fence safely with the foil in a bout. A) Candidate must demonstrate the following skills/techniques: Notice, all techniques should be done from a proper guard, attacks should be done with a properly executed lunge, etc. -
Introduction to Rapier
INTRODUCTION TO RAPIER Based on the teachings of Ridolfo Capo Ferro, in his treatise first published in 1610. A WORKBOOK By Nick Thomas Instructor and co-founder of the © 2016 Academy of Historical Fencing Version 1 Introduction The rapier is the iconic sword of the renaissance, but it is often misunderstood due to poor representation in popular culture. The reality of the rapier is that it was a brutal and efficient killer. So much so that in Britain it was often considered a bullies or murderers weapon. Because to use a rapier against a person is to attempt to kill them, and not just defend oneself. A result of the heavy emphasis on point work and the horrendous internal damage that such thrust work inflicts. Rapier teachings were first brought to Britain in the 1570’s, and soon became the dominant weapon for civilian wear. Of course many weapons that were not so different were also used in the military, featuring the same guards and slightly lighter and broader blades. The rapier was very commonly used with offhand weapons, and Capo Ferro covers a range of them. However for this work book, we will focus on single sword, which is the foundation of the system. This class is brought to you by the Academy of Historical Fencing (UK) www.historicalfencing.co.uk If you have any questions about the class or fencing practice in general, feel free to contact us – [email protected] Overview of the weapon The First thing to accept as someone who already studies one form or another of European swordsmanship, is that you should not treat the rapier as something alien to you. -
Glossary of Terms, 2016 (PDF Version)
The Society of American Fight Directors GLOSSARY OF TERMS (revised as of 3/19/16) It is important to note that the terms listed below may not correspond to the proper definitions of the actions as they are applied to historical or modern fencing, swordplay, boxing or wrestling. These terms are theatrical in nature, not tactical, describing the action as it is executed in the performance environment. General Use Terms Active Hand: The non-weapon bearing hand used to block, check, lock, parry, strike, or trap the opposing weapon or parts of a partner’s body. Attacker (also called Aggressor): The actor/combatant who initiates the offensive action or attack. Center Line: An imaginary line that bisects the body. Horizontal Center Line (also called Mid Line): The imaginary line that bisects the body horizontally at waist level delineating High Line and Low Line. Vertical Center Line: The imaginary line that bisects the body vertically through the center delineating Inside Line and Outside Line. Cue: a physical action or event that is a signal for someone to do something. Cue-Reaction-Action: A basic stage combat principle/process used to achieve a safe and dramatically effective sequence of events Distance (also called Measure, Fighting Measure, and/or Fencing Measure): The proper measure between two or more combatants to safely execute any particular technique in stage combat. En Garde: The basic physical "ready" position of a combatant. Eye Contact: A look to one’s partner to assure mutual awareness and readiness to perform the techniques. Fighting Measure/Fencing Measure): see Distance Hand Positions: Pronation: The palm is turned down. -
Fencing Rules
FENCING RULES 1995 Edition United States Fencing Association, Inc. © United States Fencing Association, Inc. 1995 FOREWORD This American version of the international rules governing fencing competitions is translated and adapted from the 1994 French edition published by the FIE and incorporates changes made by the FIE Congresses through 1995. Unless otherwise noted here or in the USFA Operations Manual, these rules apply to fencing competitions in the United States. Two appendices are included with this 1995 edition: Appendix A – The Fencer’s Publicity Code is part of the FIE Rules for Competitions. Appendix B – The FIE has published a number of “Temporary Provisions” concerning competition formats and certain other rules. The complete, updated text is included in Appendix B; notes are also located in the text in appropriate locations. The USFA, Inc. (founded as the Amateur Fencers League of America in 1891) is a not-for-profit, tax-exempt organization primarily engaged in increasing participation in the sport of fencing. Membership in the USFA, in an appropriate category, is open to anyone who has an interest in fencing. The USFA is the official governing body for amateur fencing activities in the United States, and is so recognized by the United States Olympic Committee and the International Fencing Federation (FIE). Accordingly, the authority to enact, amend, and repeal the rules governing amateur fencing in the United States rests solely with the Board of Directors of the USFA. As a matter of policy, the USFA normally follows the technical rules enacted for the sport by the FIE, with occasional minor exceptions that are duly announced. -
African-Americans Taking a Stand 6Th – 8Th Grade Note: This Is a Sample of What Can Be Done Over Two Weeks
Title/Grade Level African-Americans Taking a Stand 6th – 8th Grade Note: This is a sample of what can be done over two weeks. Please use the texts of your choice and feel free to add activities, questions, protocols, graphic organizers, etc.… Teachers are encouraged to introduce students to multiple historical African-American figures, past and present, that took a stand for social justice. Essential Question(s) How has an African American Leader taken a stand for social justice in the United States? CCSS Standard (s): CCSS.ELA-LITERACY.RL.6.1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. CCSS.ELA-LITERACY.RL.6.2 Determine a theme or central idea of a text and how it is conveyed through particular details; provide a summary of the text distinct from personal opinions or judgments. CCSS.ELA-LITERACY.RL.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of a specific word choice on meaning and tone. CCSS.ELA-LITERACY.RL.6.7 Compare and contrast the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version of the text, including contrasting what they "see" and "hear" when reading the text to what they perceive when they listen or watch. CCSS.ELA-LITERACY.W.7.2.B Develop the topic with relevant facts, definitions, concrete details, quotations, or other information and examples. CCSS.ELA-LITERACY.W.7.2.C Use appropriate transitions to create cohesion and clarify the relationships among ideas and concepts. -
Parries Powerpoint
Parries Definition The parry is the defensive action made with the weapon to prevent an offensive action arriving. USA Fencing Rules, t.9.2 Names of Parries • Position • Type of motion Positions 1. Prime 2. Seconde 3. Tierce 4. Quarte 5. Quinte 6. Sixte 7. Septime 8. Octave Lines Symmetry • Four positions in inside line • 1, 4, 5, 7 Symmetry • Four positions in outside line • 2, 3, 6, 8 Symmetry • Four positions in high line • 1, 3, 4, 6 Symmetry • Four positions in low line • 2, 5, 7, 8 Symmetry • Four positions in supination (palm up) • 4, 7, 6, 8 Symmetry • Four positions in pronation (palm down) • 1, 2, 5, 3 Motions • Lateral • Circular (or Counter) • Semi-Circular • Diagonal • Yielding • Tac-au-Tac (or Beat) • Barrage (dam) Examples of Nomenclature • Motion: Lateral Parry Position: Quarte • Motion: Counter Parry Position: Sixte • Motion: Semi-Circular Parry Position: Octave Common to All Parries 1. Use the strong part of your blade against the weak part of your opponent’s blade 2. Parry at the correct time 1. Rule of “thumb (foot?)”: parry when the front foot moves in your opponent’s lunge 3. Followed by a riposte (an offensive action) 1. Use the strong part of your blade against the weak part of your opponent’s blade • Uses leverage • Doesn’t require strength 2. Parry at the correct time • If you parry too soon, your opponent will see the parry and attempt to go around it • If you parry too late, you get hit! • Therefore, parry at the last possible moment that you can execute the parry successfully • Rule of “thumb (foot?)”: parry when the front foot moves in your opponent’s lunge. -
THE TRUESWORDSMAN – the Ebook
Your Guide to Becoming a True, Modern Swordsman THE TRUESWORDSMAN – The Ebook Written by Adam Sharp Published by Paul Southren www.sword-buyers-guide.com All Rights Reserved This ebook is freeware and you are welcome to distribute, give away or otherwise share (though not sell) to anyone you wish on the condition that none of the material within is changed or edited in any way. Published by www.sword-buyers-guide.com Page 1 Welcome In the last 2 decades, and the last several years in particular, there has been an amazing growth in interest in historic European martial arts - particularly Longsword Fencing. Many books and a few organizations have sprung up on the subject, but so far, no websites dedicated specifically to the subject. he closest would be www.thearma.org, however that's more of a Web Headquarters for the Association, and less of a site specifically dedicated to the techniques of Longsword Fencing. There are a number of great articles on longsword fencing, as well as historical manuals and translations available there for the enthusiast, but overall it's a bit hard to navigate around to find exactly what you want and they also have focus on other medieval/renaissance weapons as well. Also, many of the benefits it offers are available only to members, and membership costs money (albeit not much at all). Overall it's a great site, but still fills a different niche than to what I find there to be a lack of on the internet today. A couple years ago, my best friend and I decided to start our own investigation of the Longsword. -
Fencing Terms
Fencing Terms Fencing Rules Refereeing vocabulary: “Allez”: to start and restart the fencing bout. “En guard”: for the fencers to adopt the on guard position. “Halt!”: to stop the fencing bout. “Pret”: to find out if the fencers are ready. “Off-target”: when the hit was not make on the valid target (in foil, it’s the torso). Attack: the initial offensive action made by extending the arm and continuously threatening the opponent’s target. - Counter-attack: offensive action made during the offensive action of the opponent. - False attack: an attack that is intended to miss or fall short, so as to produce a reaction from the opponent. Fencing piste: fencing playing area which is 14 meters long and 1.5-2 meters wide. Point in line: a specific position in which the fencer’s sword arm is kept straight and the point of his weapon continually threatens the opponent’s valid target. Preparation: any action that precedes the actual execution of an attack. Right of way: the rules of fencing that have to do with actions on the fencing piste, i.e. an attack beats a counter-attack, a parry beats an attack, a counter-parry beats a parry etc. Salute: a blade action performed before and after a bout or lesson which indicates respect and good sportsmanship. A handshake is exchanged after a bout. Simultaneous: in foil and sabre, two attacks for which the right-of-way is too close to determine, as the result, no point is being made. Target Area: the area delimited for valid hits in that weapon.