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Workshop Booklet Zeilweg 17-19, 60439 www.zornhau.de www.fechtfabrik.de Dienstags: 19:45 - 20:30 Freitags: 19:00 - 20:30, Of- Fechten mit Schwert, Buck- fenes Training ler, und Langes Messer Historisches Fechten der Frankfurter Schul der Marxbrüder Adresse Seligenstädter Straße 34, 63073 Offenbach am Main Adresse Workshop Booklet Zeilweg 17-19, 60439 Germany Frankfurt am Main May 4th , Dijon, France Germany The printable booklet contains images from orignal manuscript. Those images are designed to support the research and study. They may be pro- tected by copyright regulations which prohibit any other means. Transcrip- tions in this booklet are if not made by the authors by Dierk Hagedorn. This document is formatted as a printable booklet with multiple pages arranged on sheets of paper that, when folded, present the correct page order. Print this out double sided on A4-paper. Stack it and fold in half vertically. Staple the inseam. You should now have a booklet with a cover page. 24 Introduction 9. The kick Hans Talhoffer was a mas- ter of the martial arts - armed and unarmed, an ex- pert on war machines, con- sultant and advisors in all aspects of a fight for life and death in judicial duels. He lived in the 15th century and was identified as au- The kick is one of the keys in the play against two fighters. The thor of several books on play itself involves the perfection of footwork in combination with martial arts. double weapon motions. Talhoffer was a well edu- It includes a double turn of the weapons, a twist of the body, and cated man, who took inter- est in astrology, mathemat- an armlock (or disarming of the buckler). ics, onomastics, the auctoritas, and the ratio. He was ranked high- ly by his customers who paid a fortune to produce the manuals. His doctrine is based on the best masters of his time: Andreas Liegnitzer, the Ott Jud, and Johannes Liechtenauer. In many ways he is second to none. From the extensive teachings of Master Hans Talhoffer, we will teach the art of the Sword & Buckler in the workshop at HEMAC Dijon 2017. The workshop reduces the teaching to the nine prime plays and their variations to let enough room for the very special basics of this fencing master. 2 23 8. Grip over the Ironport The guards of Hans Talhoffer Talhoffer cites his Talhoffer categorizes his guards in „Free Stands“ and others. longsword again in Those free stands are to be used out of close measure. They offer this play of winning the greatest choice but offer a huge opening to the opponent. the center. In the The other guards offer protection but a limited choice of using the blade. The figure below illustrates the guards from the point of the longsword he blocks blade. The Buckler itself moves mainly up and down on the left the opponent’s blade side. by his leg. With the Please note: the numbers of the guard are along those in the older buckler the displace- manuscript I.33. They do follow not Talhoffer’s order. I kept them ment is less uncom- for comparison. fortable. The name of the play stems from Dagger where he catches firmly 22 3 Moving through the guards 7. Lower Openings Start in 1st guard bring your weight Talhoffer attacks the lower back. Imagine you sit on a stool. The openings in this image by stance coming close to it in some the point of the buckler and Chinese influenced martial arts it is the point of the blade. This called Xu Bu stance (Xuán Jī Bù). is because the lower ope- Front left leg is not straight but long. nings under the girdle can- Rear right leg is bent. It can be not be reached by the buck- trained for strengthening purpose in a very low, deep form. ler. But the buckler can at- tack the sword hand as a lower opening. This well known technique is named Schildschlag - Shieldstrike and prominent in the manuscipt I.33. Talhoffer presents the shield- In 6th guard change weight up and in strike from two positions. the middle that your front leg is bent and your rear right leg is more straight. You should now stand in a high “bow stance” (Gong Bu), which again can be trained very low. Bring the buckler up. The elbow is over the knee, the knee over the toes. Your sword moves to the left hip . In an advanced form, rise in between both guards with the Schrank- hut. 4 21 In 3rd guard stay in the bow 6. Upper Openings stance, but turn your left foot outwards to 45° while the Talhoffer quoted in the Ber- buckler sinks a bit. lin Manual already Liegnit- The sword answers this mo- zer‘s 2nd play and shows it tion in a circle until it rests on the arm and is before the in the Thott from both sides chest. to attack the high openings Now turn the upper part to the with the Ort of the buckler. right side like you want to He brings in variations of shoot a bow. The buckler is the Liegnitzer play in cut- the bow and the sword the ar- ting the arm low instead of row. the leg or thrusting high. | Item aus dem vnderhaw | wenn er dir oben zwhaut | So wind gegen ym auf dein lincke seitten gegen deinem schilt | So ste- stu yn zwaien schilten | So wind denn auf dein rechte seitten plos | vnd greif ym nach dem maul | Wert er dir das vnd hebt To move to 4th guard you lift den schilt auff | So nym das linck pain das get zw paiden seit- your left foot shortly and let the torsion of the leg go. By ten this you rise a bit and your The play is to be un- left leg will be moved to the derstood as the left side. Stichschlag - the The upper body releases the thrust and the strike tension as well. The elbow of the buckler. Two works as the engine to drive the sword over the head. points are hitting the opponent at the sa- me time. 20 5 While in 4th guard lift both arms such 5. Take the Elbow that the buckler will protect the head and the sword hand is a fist higher than the head. The play belongs to the Turn in the hip and get ready for the Zornhau. I sums up two step by moving the centre forward, principles of Ringen: Sto- turning the left foot outward again. ßen - Pushing „Und stoßt This time turn the heel and stand on In von Im” and Reißen - your toes. Be careful when turning the Tearing “Und Ryßt mit foot, the knee needs always be over your toes. Don’t twist the knee. dem messer” . Rotate the sword over your head with the buckler protecting sword hand and Talhoffer uses those head like an plays to add to what umbrella. Liechtenauer tells in “In allen winten / hawe stich snytt ler finden”. When the sword comes around and is high with the point over the head in 2nd Talhoffer names the „finden“ - finding as „winden“ - winding. An in- guard, start to lower the buckler to the tended pun. hip, similar to the guard known as This Talhoffer add-on matches the two Winden named in Auers- “Luginsland” (Hightower) in Langes wald “abwinden” to the outside and “einwinden” to the inside. Tal- hoffer famous for his wrestling favours to add this Stoßen and Reißen be- Messer. Bring your upper long together, which is body forward without lean- excellently demonst- ing forward until your bal- rated in the second ance forces you to step. Step Buckler play. This play forward in a round step in is often found in other which you bring your left leg on your toes back in direc- sources as well like in tion (watch your knees). Hans Lecküchner. 6 19 Strike a clean cut starting before step- 4. Take away the sword ping. When the strike comes down rise the buckler in a punch to meet the Attacker: “Aber sword at shoulder’s height. howt der von To move into 5th guard put your weight Tach.“, defender : back, do a step back with the right leg. Turn your sword at the hip with the „Hie hatt der ver- point looking back and rise the buckler setzt fry vnd loufft to protect your head. When the rear foot Im daby Inn.“, re- lands turn in the heel of the left foot sult: „Hie Ist Im such that it points outwards again. der Ingeloffen vnd hat das Swert durch In gesto- chen.“. The play well known under the name Fidelbogen (fiddlebow) is simple to stage. To pull it off in fight is less simple. You will get into 1st guard again The plates in the Munich manuscript follow a wrong order. By u- by now turning the left foot with sing the plates in the Copenhagen manuscript the correct order the toes inside and then lift the could be reconstructed. The play is called „Versatzung / Inlouffen / heel in putting your weight on your back leg. Übergryffen“ - displacement, stepping in, encroach. You can start anew moving through the guards. With each round you will get a better un- derstanding on the idea behind them. In the buckler plays there is a va- riation aiming for the lower openings. 18 7 Sword and buckler guards 3. Take it down The figure shows the guards in comparison to Liegnitzer and I.33. 1. Der hatt den angeloffen In Zorn vnd hatt In wöllen howen To reduce the complexity of the figure, the shield is positioned al- durch den kopff.
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