Foil Merged

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Key TeachingFoints
Sscondfdition
With Foreword
By
Dr Z Cznikawski
SecondEdition
January2004
BritishAcademyof Fencing
The object of this documentis to provide a summary, in note form, of the

important aspectsof fencingstrokesor movementsthat should be
stressedwhen teaching- either in classor individual lessons.
Candidatesfbr BAF Examinationsshouldfind the notesuseful in all partsof the
examination,but they are primarily intendedas an aid to developingan adequate
'explanation'of strokes/movements
in classlessons'
Compiled by the
StandingSub-Committeefor Techniqueand Terminology

Authors
Philip Bruce, Tom Etchells,Leon Hill and Andrew Vincent
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FOREWORD
The exdrcising of v'eaponsputtelh away aches,grieflsund
diseases,it expellethmelancholic',cholericksand evil
cont'eit: it keepethu man in breuth. perlect heulth and long
lv|"
of Dcfcncc"
GeorscSilvcr "Paradoxcs
Only he who sacrifices himsel/ relentlessh:lo his coaching
pro-fession,
vtho possesses
tctlenlund the ahiliry-to work on
himself through constant enric'hmento./'knowledgeantl.just a
little bit of inspiration.fromCotl, mov becomea good coach
and educ'ator.
Antoni Piechniczek.
2002
Doctor Czujkowskishowedus thot.fencingis not so easyto
comprehentlus somepeople may superficially think.
PatPearson.
1970
I am vcry pleasedand feel grcatlyhonouredto be askedto write a forewordto the "General

Information"and "Key TeachingPoints Foil, Epee,Sabre"publishedby the British
Academyof Fencing.
versatile,difficult and...interesting.
The work of a f-encingmasteris very complicated,
many
than
in
otherbranchesof sport(seebelow).
more
and
difficult
much
complicated
In my home- which is a kind of private"fencingmuseumand library" I havehundreds
of f'encingmanuals,old andnew ones,from many dill-erentcountries.
I havestudiedthem all with keeninterestandhavelearneda lot. Whathoweverstrikesme,
is the lact that greatmajorityof evenmostmodernfencingbooksare,in a way, very onesided.They containplentyof figuresdepictingthe on guardposition,lunge,variousparries
of how to executevariouspositionsand strokes.Of course,
etc.,and detailedexplanations
arevery nccessary
anduseful,but what surprisesme is that
descriptions
and
drawing
such
very fbw authorsdescribein detailhow to applytheseactionsin a bout andhow to teach
oughtto be usedandwhat arethe most important
them,what methodsof teaching-learning
qualitiesof an efficientf-encing
coach.They very oftenomit the mostimportantandsalient
skills (fbncingactions),how to
principlesof traininga l-encer,
how to teachsensory-motor
developvariousqualitiesof attention,skillful perception,senseof surprise(senseof timing)
and many otherimportantelements.They do not discussmost importantprinciplesof
training,trainingmethods,socialandpsychologicalaspectsof trainingand competing,
of motivationdimensionsof pupil's personality,tacticaltypesof fenccrs,inf'luence
motivation and arousalon our educationandperfbrmance,
includingachievement
programmingand planningof trainingprocessand trainingstages,phasesof teachingleamingmotor skills (motorhabitpatterns).Very oftenthereis lack of cleardehnitionsand
fltness(comprisingenergyabilitiesandcoof fencer'sfunctional-motor
descriptions
ordinationabilities),and its importancein fencing.Many authorsdon't discussvarious
(motorreactions)that form thebaseof fencer'stechnical-tactical
responses
sensory-motor
of
of distance,sensingof surprise,lightningspeedassessment
capabilities(assessment
situation,predictingopponent'sintentions,differentiatingbetweenfalseandrealattacks,
betweensimpleand feint attacks,ability to changeone'sintentionduringan actionetc.).
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The "GeneralRemarks"and the "Key TeachingPoints"editedby B.A.F. arenot text-books

and cannotexplain every'thing,yet they fulfill two importantdemands:
Indirectlythey stressthe necessityof coach'sknowledgeandpracticalabilities,they
point out the unity of theoryandpractice,unity of knowledgeand perfbrmance.
2 . They give many concisedef-initions
of lbncingactionsandplentyof methodological
advice.
3. They give much usefulpracticaladvice.
I would like to stressoncemorethe importanceof correctand detailedterminology
Knowledgeof terminologynot only f-acilitates
the communication
betweenthe coachand
- it alsohelpsour perception.As I keep
his/herpupil, but - what is oftennot appreciated
tellingmy pupilsand students:"To look is not the sameas to see,to seeis not the sameas
to perceive.We reallyperceive- on a higher,motor-filnctional
level* what we know well,
candescribeand discussand give nameto". The greatChinesesage,Confucius,centuries
ago,very cleverlyremarked:"Ability to give propernameto thing is the first steptowards
wisdom".All coachesand theirpupilsshouldattainthe first and furthersteps- of
wisdom.
l.
Fully appreciating
the immensevalueand importanceof terminologyandtheoretical
knowledge and the coach'snecessityto constantlyread,learnanddiscussvariousaspects
of f-encing,
methodologyof training,sportpsychologyetc.- one shouldnot fbrgetthe
importanceand necessityof fencingmaster'spracticalcapabilitiesand practicalexperience,
pedagogical
intuitionand... commonsense.As the lbmousXVI centuryFrenchsurgeon
AmbroisePardin his "PrinciplesandRulesof Surgery"aptly remarked,"Mere knowledge,
without experience,
doesnot give the surgeonself--confidence".
I havementionedalreadythat fbncingis a very special, specificbranchof sport.I'll try to
explainwhat I mean.Fencinghasa very long historyandtradition(wars,combats,knights
judicial duels,knight'sduels,honoraryduels,principleof fair play, chivalry)
toumaments,
and f-encingas a modem sportis very complicatedand developsmany qualitiesnecessary
in life, productivework, artisticactivity.
All branchesof sportmay be broadlydividedinto:
The most typical sportsin which most prominentand visible fbctorsare movement
and physical ef1brt(althoughthey need not to be the most important f-actors).Here
belongl-encing,
wrestling,boxing,tennis,badminton,trackand field events,rowing,
cycling, swimming, skating, soccer,basketball,volleyball, baseballetc. These
sportsare very difl'erentbut typical fbr them are motor activity and effort.
2 . Sportsin which the most prominentf-actoris aiming at a target(shooting,archery
l.
3 . Vehicledriving (carand motorcycleracing).

4 . Logical,abstractgames(chess,checkers,cardsetc.).
5 . Modeling(constructing
and competingwith modelcars,modelplanesetc.).
Fencingbelongsto the lirst group- mosttypicalsports.This groupof sportsmay be
dividedinto threesub-groups.
In all of them as alreadymentioned- physicaleflbrt and
movementarevery prominentfbatures,but thereare alsomarkeddifl-erences
between
them.The threesub-groupsare:
a) Sportsof artistic expressionin which techniqueis the main object. The
essenceof these sports is to demonstratea difllcult, complicatedset of
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movementsand the judgesassesstheir accuracy,beauty,level of difficulty,

rhythm(gymnastics,
acrobatics,
figureskatingetc.).
b) Sports in which the most important lbature is physical fitness- energy
abilities.Techniqueservesthe purposeof achievingthe highestmeasurable
results - faster, longer, higher, etc. (track and f-reldevents, swimming,
rowing,weightlifting, cyclingetc.).
c) Sport in which the most importantaspectsare tacticsand connectedwith it
psycho-motorabilities.Hereenergyfltnessis necessary
to mastertechnique
and techniqueis a "servant"of tactics.
In groupa) therearemany sensory-motor
skills,closed(intrinsic)ol-motortype;important
aremotor educabilityand motorcontrol.Cognitive,mentalprocesses
arenot so important.
In groupb) hereis usuallyonly onemotor skill, closed(intrinsic)of motor type.Technique
servesthe purposeof demonstrating
chosenenergyabilities.
In groupc) therearemany open(extrinsic)motor skills,cognitive-motor
variety.The most
importantis ability to applycorrectlychosenactionsin changingsituationof a bout,with
counter-acting
opponent.Most importantaremotoradaptability,tactics,cognitive
processes,
perception,speedand accuracyofreaction,choiceofaction, last and correct
assessment
of tacticalsituation.Herebelongcombatsportsand games.
Fencinghasmany characteristics
of sportsfiom group c) and yet difl'ersmarkedlyfrom
other combatsports(and,of course,from games).The main diffbrencesare: ln fencing
thereis no needfor sheer,"brutal" strength(theexplosivespeedis necessary).
The time of
a bout is not so importantbecauseif the time of a bout is over, the fencerwith a betterscore
of hits wins. One,single,evenmostbeautifulactiondoesnot bring the victory.Fencers
fight with weapons.Thereareno weightcategories.
A very specific- only in f'encing
fbrm of teaching,leamingandtrainingform is beingused- individuallessonwith direct
and closeco-operation
betweenthe coachand athlete.The resultsof a fencingbout depends
to a largeextentmore on cognitiveand psychologicalf'actorsthan physicalfitness(athough
its valuecannotbe underestimated).
One,evenvery big mistake,in a bout doesnot leadto
a def-eatof a betterfencer.So many f-actorsinfluencefencer'sresultsin competition,that
someweak pointsmay be and arecompensated
by high level of otherf.actors.
Highly
characteristic
fbr fbncingis extremelystrongconnections
and interdependence
of'physical,
cognitiveand emotionalskills andprocesses.
In planningand conductingf-encing
exercises
andthe entireprocessof trainingthe f-encing
mastermusttakeinto accountthesevariouscharacteristic
pointsof f'encing.For example
devefopingfencer'sspecificendurance
he must realizethat it dependson resistance
to
perceptualfatigue(high level of attentionand its otherqualities,speedand accuracyof
reaction,decisiontakingetc.),resistance
to mentalf-atigue
(cognitiveprocesses,
assessing
the situation,planningof actions),resistance
to emotionalfatigue(stateof arousal,various
kinds and levelsof motivation,motif of success,
motif of avoidingf-ailure,resistance
to
stress)and- lessimportant resistance
to "physical"fatigue.So the choiceof exercises
and the ways of conductingthemmustbe highly specific,ensuringthe positivetransferof
skills. Spendinga lot of time and energyon runningwill not developfencer'sendurance
but long distancerunner'sendurance
(rhythmicmovements,no changeof situation,no
directopponent,aerobicprocesses,
slow twitchingmusclefibres).As I keeptellingmy
pupils:"Runningroundthe pitch doesnot improvesoccerplayer'sability to play soccer
just the sameas walking roundthe tablewill not improvebilliard player'sskills."
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Very importantin coach'swork and fencer'sactivityis motivation its direction,level,

essence
and levelof arousal.The bestcombinationof variousmotif-sis intrinsicmotivation
(l fbncebecauseI like it, it givesme pleasure,it improvesmy healthetc.etc.)and
infbrmationfunctionof extrinsicmotivation(thegrants,awards,cups,wordsof approval
etc.infbrm and accentuate
my effbrt,my devotion.abilitiesandresults).The controlaspect
of extrinsicmotivation(you musttrain and competebecausewe pay you for it) rs not very
positiveand hassociallynegativeaspect.
Thereis alsoachievement
motivation,very important- it is a setof variousmotif-s
occurringin situationof rivalry,competing.Most coachesand athletesthink thatthe best
combinationof achievement
motivationis very high levelof motif of success
(victoryis
everything,I must win at any cost)and an extraordinary,"murderous"effort. My nearly 70
yearslastinginvolvementin fbncing(fencer,coach,professor,author,researcher)
tells me
that the most eff-ective
and sociallymost valuableachievement
motivationis setof
following motifs:optimallevel of motif of success
(desireto win, willingnessto compete,
but not maniacal"victory at anycost"),taskinvolvement,strivingto learnas much as
possible,desireto increaseone'sown skills and abilities;independence
and self
confidence,and self--efficacy.
Connectedwith motivationand all our activitiesis arousal- stateof activation(excitory
processes)
of the nervoussystemand all the systemand organsof humanorganism.Every
humanbeing and every activity needa difl-erentoptimal level of arousalthat the f-encing
coachmusttake into consideration
both in trainingand duringcompetition.It is well known
that learning-teaching
actionsand capabilitiesrequirea relativelylow level of arousal.
Learningthen is slow, but more efficacious,more exactand resultsare long lasting.It is
alsologicalthat when our pupilsfenceswith a strongopponentand everyhit is very
important,and the f-encer
is rathernervous,anxious- levelof arousalis high - it is logical
to calm him down insteadof shoutingat him and throwinga cascadeof tacticaladvice.It is
logicaland commonsenseand yet duringan importantbout how oftendo we seea coach
who, insteadof calminghis pupil down, makeshim evenmorenervousand anxiousby
nervousgesturesand advice.
Speedin modemf-encingis very important.The majorityof greatchampionsarevery fbst
but in teachingone mustrememberthat first we haveto developaccuracyof movement.It
is much easierto speedup a slow but correctmovementthan to correcta fast but incorrect
movement.
Talkingof speedin fencingwe mustrememberthat it is not only the speedo1'certain
movementandthe speedof movingon the strip.One mustrealizethat speedandaccuracy
of assessment
of tacticalsituationand speedof motorresponses
(to be more exact,time of
durationof the latentperiodof reaction)combinedwith the senseof timing (senseof
surprise)is by far more important,althoughlessvisible,thanmerespeedof executionof
movements variousfbncingactions.
I would like to mentionstill the importanceof knowledgeapproachto training,certain
importantprinciplesof training principleof unity of componentpartsof trainingprocess,
principleof practicalapplication,principleof individualization
of training,the importance
of teamcohesiveness
and manyotheraspectsof fencer'straining,but - I am aliaid the
forewordwould be too long. So,finishingit I am goingto enumerate
the most salient
featuresof fencing,its specificcharmand high value,which makefencingspecially
attractiveand valuablesport.Thesef-actorsare:
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1. The sheerjoy of a f'ast,mobile and versatiletight with a light weapon,with

strip.
kaleidoscopic
changesof situationon the f-encing
2. Exceptionaland decisive significanceof cognitive processesand psychological
processes,
traits in the f-encingbout, includingpsychomotorabilities(psychological
perception,
making
with
fencer's
like
attention,decision
etc. strictly connected
m o t o ra c t i v i t y ) .
3. Rich, romanticand historicaltraditionand very long, colourfulhistoryof it, which
stirsthe imaginationof not only youths.
4. The possibilityof cultivatingfencingfiom youthto well abovemiddleage.
5. The exceptionallyhigh health, social and educationalvalue of f'encingas an
attractive form of preparationfbr lif'e and work in the contemporaryworld; it
developsgrossand flne co-ordinationabilities,energyabilities,a high level and
accuracyof perception,fast decisionmaking, many aspectsof attention(range,
selectivity,shifting,divisibility etc.) - all of which is very useful and practicalin
modern lif-e, prof-essionalwork, artistic activity, driving a car, using various
apparatusesetc. (weight lifting, running etc. develop mostly muscles,cardiovascularsystemetc. and physicalabilities which are not so useful in contcmporary
lil-eand work).
Takingthis into consideration
we may saythat f-encing,
one of the oldestsportsin the
world, is paradoxicallyenough the most versatileandbestadaptedto the lif-eand work
in the 2l't century.
Zbigniew Czajkowski
HonoraryMember,BritishAcademyof Fencing
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CONTENTS
T H E G R IP
THE STANCEAND THE ON GUARDPOSITION
T H E SA L U T E
GAININGAND BREAKINGGROUND
T H E L U N GE
THE RECOVERY
f,
THE FLTCHE
f,
THE HIT
SIMPLEATTACKS
COMPOUNDATTACKS
DEFENCE
RIPOSTES
t5
PREPARATIONS
19
COUNTER-OFFENSIVE
ACTIONS
26
COUNTER-TIME
26
BROKEN-TIME (TEMPSPERDU)
27
THE DEROBEMENT
)1
RENEWEDOFFENSIVEACTIONS
28
EVASTON
OR AVOTDANCE(ESQUTVE)
29
MISCELLANEOUS
NOTES
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ERRATA
RegardingBeat Attacks relativeto Foil (cl' pp 2l-22)
that was enactedby the FIE on

Candidatesshouldbe awareof the fbllowing rule change
Ausust 2014:
t.56.
4. Attacksby beatson the blade:
is correctlycarriedout and retains
L a) ln an attackby beatingon the blade,the attack
opponent'sbladei.e. thetwoits priority whenihe beaiis madeon the foible of the
thirds of the blade furthestfiom the guard'
beatis madeon the forte of the
2. b) ln an attackby beatingon the blade,when the
the guard'the attackis badly
opponent'sUladei.e. the one-thirdof the bladenearest
immediateriposte'
executedand the beat givesthe opponentthe right to an
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THEGRIP
The Grip is the mannerin which the swordis held. It shouldbe conduciveto easein the
wieldingof the weaponand to all movementsof the fingers,wrist and sword-arm.
the handleshouldbe held betweenthe ball of the thumbandthe secondphalanxof the

index f-inser
the endof the thumband the sideof the indexfingershouldtouchthe pad insidethe
guard
the ball of the thumb shouldbe flat on the handleandthe fleshypart of the thumb in the
palm o1'thehandshouldrestin the curvedpartof the handle.
TheAids:
o the threeremainingfingers,shouldrestlightly but firmly on the outerfaceof
the handle
o thereshouldbe no spacesbetweenthe fingers.
THE STANCE AND THE ON GUARD POSITION

The Stunce
The stanceis the position in which the fbet are placedwhen the fbnceris standingin theonguard position.Their correctplacingensuresbalanceand mobility:
o feet,approximately18" (50cm)apart(theexactdistancewiil vary fiom fencer
to fencer)
o fbet,at right anglesto eachother with heelsin line
o leadingfoot pointing towardsthe opponent.
The On Guard Position

TheOn GuardPositionis that positionof the whole body (andsword)that is adoptedby the
fencerat the commencement
of a bout.
To be on guard is to be preparedto executedefensiveactionswhen attacked,or to be in a
positionto launchan ofl'ensiveactionwheneveran opportunitypresentsitself:
o assumethe stance
o bendthe kneesoutwardsover the insteps
o distributethe body weight equallyon both f-eet
t hipsandshoulders- half tumed(45 degrees)to a line drawnbetweenthe heels
o the elbow of the sword arrn- approximately6" ( l5 cm) away from the body
o thereshouldbe a continuousline fiom the elbowto the point,which is held
approximatelylevel with own eyes
a
swordhand- in eithersixte or an of-fensive/def'ensive
position
o
reararrn- upperarm in line with the shoulders,fbrearm- nearly vertical,at right angles
to this, hand- relaxed
head- uprightand steady,following the line of the spine.
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THE SALUTE
The saluteis a courteousgestureto one'sopponent,the officialsandthe audiencebeforeand
alier a bout.A f'encershouldalsosalutehis/hermasterbefbreand afier a lesson.
Beforea bout or lesson.
. Standwith f-eetat right angles,heelstouching,legsstraight,lacingopponent(or master),
mask underrear arrn,sword arm and weaponin a straightline fiom the shoulderpointing to the ground in front of and to the outsideof the fiont foot.
o Pivotingfiom the shoulder,keepingthe swordarm straight,raisethe swordarm and
weaponto point diagonallyupwards.
. Bendingthe swordarm at the elbow,bring the hilt down levelwith the mouth,blade
vertical.
. By extendingthe sword arm, returnto the first position.
o [Jsethe rear arm and handto put on the mask.
o Stepfbrward with the front fbot and assumethe on-guardposition.
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Afier a bout or lesson.

r From thc "on-guard" position standup by moving the front foot back towardsthe rear so
that the heelstouch at right angles,the legs straightand the body erect.The sword-arm
and weaponin a straightline fiom the shoulderto point in front of and to the outsideof
the liont foot, the hand in supination.The rear arm shouldbe held in a straightline,
slightlyaway liom the body.The headshouldbe erectand facingthe opponent.
o Pivoting liom the shoulder,keepingthc sword arm straight,raisethe sword arm and
weaponto point diagonallyupwards.
. Bendingthe swordarm at the elbow,bring the hilt down levelwith the mouth,blade
vertical.
. By extendingthe sword arm, returnto the first position.
. Removemask with rear handand placeit underthe sword arm, leavingthe rear arm and
handfiee to shakehandswith the opponent(or master).
GAINING AND BREAKING GROUND

Stepping Forwards
Iintnt.fint - lified and placeddown,heelflrst, about6" (15cm)in advanceof its original
position.
Rear.fbot- lifted andplaceddown,toe first, at an equaldistanceto that movedby the
fiont fbot.
Stepping Backwards
- reversalof steppingfbrward.
Reur./itot- lifted and placeddown,toe first, about6" (15cm)behindits originalposition.
F-ront./itot- lifted and placeddown, at an equaldistanceto that movcd by the rear fbot.
Notes:
. The f-eetshouldnot be lifted excessively,
but shouldstaycloseto the ground.
o Alicr steppingfbrwardsor backwards,the distancebetweenthe f-ectshouldnot have
changedandthe on-guardpositionshouldbe balanced.
o Stepsmay vary in both lengthand speed(i.e. long, short,quick and slow)
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fbotworkshouldbe executedsmoothlyandnot appearmechanical.
THE LUNGE
The lunge is an of-fensivemovement. Executedfrom the on-guarclposition,the fiont
fbot is
raisedfrom the heel(toe first) andadvancedfbrwards,whilst at the sametime the
rearleg is
straightened,
the rear lbot is kept flat on the ground,so that the whole body is thrust
fbrward.
Teachinitially as a simpleattackto the insidehigh line:
o extendthe sword arm at shoulderheight
' lift the liont foot and push into the lungepositionby straightening
the rear leg
o front lbot - landsheel flrst.
On the Lunge:
o fiont knee- over the instepof the front fbot
o body - upright
o back leg - straight
o back fbot - flat on the floor
o backarm,parallelto the backleg with the palm upper_mosr
o sword-armmay needto be lifted or lowered,relativeto the shoulder,in order to
f-acilitate
the hit.
THE RECOVERY
To returnto the on-guardposition fiom a lunge.
o lift the front toe and push back from the heel,bendingthe rear
leg
o time the lifting of the front fbot to coincidewith the acquisition
of momentum
o placethe fbot down, heel f-irst,in the correctstanceposition
o maintaina bentkneepositionof "on guard".
Forwards:
o lift the back foot and position it in the correctstance- placing
the toesdown first
o maintaina bentkneepositionof "on guard".
Notes:
o The sword-armmay remain straightor bent dependi
ing uponthe actionwhich
follows the recovery.
o Therearaffn may remainin the positionit occupiedwhenthe
lungewas completed
or retumto the positionit occupiesin the on guardposition.
THE FLECHE
TlT Jldcheis an alternative,to thelunge,for deliveringan off-ensiveaction:
o like thedevelopment
it is initiatedby the extensionof the sword-arm
o initial thrustcomesfrom the straighteningof the back leg
. keepthe front kneebent as the body passesover it
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keepthe headand body upright throughoutthe f'leche

the shouldersshouldbe carriedthroughhorizontally
the drive (extension)of the front leg shouldbe timedto occuras the centreof gravityof
thc body passesin advanceof the fiont knee
the acceleration
and drive shouldbe directedfbrwardsandnot upwards.
THB HIT
To hit is to strike the adversarywith the point of the sword on any part of his body, so that it
flxes clearlyand distinctlyandhasthe characterof penetration:
o
o
o
o
swordhand may be in pronation,supinationor any intermediate

position
the heightof hand and the degreeof angulationis dictatedby the part of the targetto be
hir
extensionof the swordarm shouldbejust sufrcientto makethe hit
point - in line with the targetandplacedusingthe wrist and/orfingers.
Note: duringa lunge,the handmay needto be lifted or lowered,relativeto the shoulder.in

orderto facilitatethe hit.
SIMPLE ATTACKS
Direct Attack or StraightThrust
A straightthrustis a simpleattackmadewithout changingthe line:
. madeinto an openor openingline
. no movementaround,underor over the opponent's
blade
o adjustthe lengthof the foot movement(step/lunge/tldche)
accordingto distance
o the sword arm - shouldbe extendingbefbreanv movementof the fect
o the hit - seeabove.
DisengogeAttack
The di,sengagc
is a simpleofl-ensive
actionmadein onemotion by passingthe point into a
diffbrentline - underthe opponent's
bladein the high line or over the opponent's
bladein the
low line.
It is most eflbctivelyemployedas the opponentis attemptingto closea line:
. usuallymadeon the opponent'sattemptto engageor closea line
. involvespassingunderthe opponent's
blade(or over if in the low line) in orderto attack
the openor openingline
. finger/wristmovement- drop and lift the point into the openor openingline
o the swordarm shouldbe extendingbefbreany movementof the tbet
o adjustthe lengthof the fbot movement(step/lunge/fleche)
o the hit seeabove.
Cou nter-d isengage Attoc k
The cttunler-di,sengage
is a simple offensiveaction,which deceivesthe opponent'sattempt
to changethe engagement.
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Made on the opponent'sattemptto changethe line of engagement:

o involvesfbllowing the circularmovementof the
opponent's
bladein orderto attackthe
o p e n i n gl i n e
. finger/wristmovement(circularaction)
o the sword arm shouldbe extendingbefbreany
movementof the f-eet
o timing, may be executedat any time duringthe
opponent's
changeof engagement
o the hit - seeabove.
Cut-Over (coapd)Aflack
The cut-overis a simpleof-fensive
actionmadein onemotionby passingthe point into a
diffbrentline - overthe opponent's
point in the high line or underth. oppon.nt,spoint in the
low line.
Teachinitially as an attackin the high line:
r usuallymadeon the opponent's
attemptto engageor closea line
o involvesmovingthe bladeover the point of the opponent's
bladein orderto attackthe
openor openingline
. keepyour own point as low aspossible
o when executedfrom sixte - slightly supinatethe hand
o when executedfrom quarte- slightly pronatethe hand;
o extendthe sword arm Lrefbrethe foot movementthis is most importantat foil to gain the
'right
of way'
o thehit - seeabove.
SimpleAttscks - RIILE
At foil the fencerwhosearm is the first to extendhis/herarm with the point
in line
(threatening
the opponent'starget)hasthe priority to attack.
COMPOUND ATTACKS
A compoundattackis an attackthat includesone or more
fbints.
The objectiveof the./eint is to draw the defender'sbladetowardsit in
an attemptto parry,
this parryis thendeceived(trompement)andthefinal movementof the
attackdeliveredinto
an openingline.
Usedto gain time and distance- when too fbr away fbr a successfulsimple
attack:
o feintsareusedto provokeparrieswhich are subsequently
deceived
o observethe probabletype ofparry
o executethe feint with an extendingarm, into an open
or betteran openingline
o makethe feint convincingenoughto provokethe
opponent'sparry.
Choiceof compound attack (one-two,double,etc) - relativeto the def-ence
employedby
the opponent.
Second
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ut$-*rcing
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Two-time:
,//
v
/'(| f )' " '

f/w
{ ( ' w '' \\\\i tI'i,'
f-eintwith the ex\e

extehsion oF-tir" r*ord
o
o
.
deceptionof the parry with the flnal actionof the attack(step,lungeor fleche)
two periodsof lencingtime
usedagainsta f-encer
who readilyreactsto feints.
u.,n
Progressive: t't ,lbl(L l ru" ",)

o f-eintand deceptionexecutcdon thc samestep,lungeor fldche
. oneperiodof f'encingtime
. usedagainsta fbncerwho doesnot readilyreactto l-eints.
Broken-time: referto the section"broken-time"
.
/,r'\
til ., t^,
^_tl (_.i,,,""," J
TeachingNamed Compound Attacks
Fi;q'UcqW'{ ''
rheone-rwo(disengage,
disengage)
/24
lf.^t ; l?:i ;r:t;
4,;:':) ,(,rrlt,l!
Consistsof a f-eintof disengage

to draw a simple(lateral)patry,which is thendeceivedby a
f-urtherdisengage.
Teachit first as a two-timeattack:

.\,
o startjust outsideripostingdistancewith the def'endercoveredi" q"utrc)ff#
'
I
o attackerexecutesa disengage
f-eintinto the openoutside-high-line - e -.,)-1-|
o defendermovesacrossto sixteto interceptandthe attackcrexecuteshis sccond
disengageand stepsforward to hit
a
extendthe distanceflrst to half'-lunge
then lull-lungedistance
a
progresstowardexecutingthe movementprogressively
(i.e. in one periodof f-encing
time)
repeatthe whole processto defeata quarteparry - pointing out the additional
problemof avoidingthe defbndingsword-arm
finally executefrom full lungingdistancein absenceof blade- the def-ender
startsthe
movementby attemptingto engagethe attacker'sblade.
Note: Always emphasise
the needto makea convincingfcint.
The Doubl6 (disengage,counter-disengage)
Consistsof a l'cintof disengage
to draw a circularparry,which is thendeceivedby a
counter-disengage.
Teachit first as a two-timeattack:
o startjust outsideripostingdistancewith the defendercoveredin sixte
o attackerexecutesa disengage
f-eintinto the openinside-high-line
o defenderattemptsto takea circularparryof sixteandthe attackerexecuteshis
counter-disengage
and stepsfbrward to hit
o extendthe distancefirst to half'-lunge
then full-lungedistance
. progresstowardsexecutingthe movementprogressively
(i.e. in one periodof f'encing
time)
o repeatthe whole processto defeata quarteparry- pointingout the additional
problemof avoidingthe def'ending
sword-arm
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finally executefiom full lunging distancein absenceof blade- the def-ender

startsthe
movementby attemptingto engagethe attacker,sblade.
the needto makea convincinsf'eint.
The Feint-direct, disengage

Consistsof a fbint of a directthrustto draw a simple(lateral)parry,which
is thendeceived
by a disengage.
Teachit flrst as a two-time attack:
o startjust outsideripostingdistancewith the def'ender
in a quartepositionbut the
bladesnot ensased
attacker(alsoin a quarteposition)executesa directf-eintinto the openoutside-highline
defendermovesacrossto sixte to interceptand the attackerexecutesa disengage
and
stepsfbrward to hit
o
extendthe distanceflrst to half--lunge
thenfull-lungedistance
a
progresstowardexecutingthe movementprogressively
(i.e. in oneperiodof fencing
time)
repeatthe whole processto defeata quarteparry:
o fbncersboth adopta sixtepositionin absence
of blade
o point out the additionalproblemof avoidingthe defbndingsword-arm
finally executefrom full lungingdistancein absenceof blade.
the needto makea convincinsfbint.
SuggestedExercise:
o attacker,arm extended,walks towardsthe opponent,
who is walking backwardstaking
simpleparries,the attackerexecutesone deceptionbefbrehitting
o repeatthe aboveexercise,extendingthe arm whilst executing
the flrst deception
' progressto observingand deceivingdiffering parrieswhilst
moving fbrwards.
CompoundAttacks (RULE)
At foil the fencerwhosearm is the first to extendwith the point in line (threatening
the
opponent'starget) hasthe priority to attack.
Compoundattacksare correctlyexecutedwhen the arm is straightenedin the presentation
of
the first feint.This feint must precedethe initiation of a step,lungeor fldche,
ihe point must
be continuallythreateningthe valid target,and the arm is not bent during the successive
actionsof the attack.
DEFENCE
Theprinciple oJ'defence
is the oppositionof the forte of the def-ending
bladeto the fbible of
the attackingblade.
Supinoted Pomies - quarte, sixte, septime ond octuve,
Quarte - is normally usedto deflect on attacking blade wide of rhe inside-high-line, in
which cuse:
o elbow- closeto, but not touchingthe body
Second
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P u b l i s h ebdy t h e S S T T
mjenrinfl
ffiritisllHcutrrtnrg
a
a
a
o
.
handat breastheight
handin three-quarter
supination
blade is held so that the point is higherthan the hand and inclined outwardsrelativeto
the vertical and wide enoughto preventthe attackingbladereachingthe extremesof the
target
back of the hand - is at an obtuseangleto the line the forearm
pommel- slightlyaway fiom the wrist.
Sixte - is normally used to de/Iect on attacking blade wide of the outside-high-line, in

which case:
o elbow - closeto, but not touchingthe body
. hand - at breastheight
. handin three-quarter
supination
o bladeis held so thatthe point is higherthanthe handand inclinedoutwardsrelativeto
the vertical and wide enoughto preventthe attackingbladereachingthe extremesof the
target
. pommel- on the wrist.
Septime - is normally used to deJlectan attacking blade wicleof the inside-low-line, in
which case:
o fbrearm- horizontal
o handin three-quarter
supination
. bladeis held with the point lower thanthe hand,inclinedoutwardsrelativeto the
verticalandwide enoughto preventthe attackingbladereachingthe extremeso1-the
target
o back of the hand - is at an obtuseangleto the line of the fbrearm
. pommel - is slightly away fiom the wrist.
Octave - is normally used to deflect an attocking blade wide of the outside-low-line, in
which case:
. Ibrearm- horizontal
. h a n d- i n s u p i n a t i o n
. blade is heldwith the point lowerthanthe hand,inclinedoutwardsrelativeto the
verticaland wide enoughto preventthe attackingbladereachingthe extrcmesof the
target
. backof the hand- is in line with the lbrcarm
. pommelis slightlyaway fiom the wrist.
Pronaled Parries - prime, seconde, tierce and qainte.
Prime - is normally used to deflect an attacking hlade wide of the inside-high-line, in

which cuse:
. sword arrn- at shoulderheight
. guard- levelwith your own rearshoulder
. handle- is heldwell forwardin the hand
. fbrearmand hand - slishtlv in advanccof the elbow
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blade- pointsalmostverticallydownwards,but slightlyfbrwardand hel4 high

enough
and wide enoughto preventthe opponent'sblade."u.hingthe extremes
of the target
back of the hand- is line with the fbrearm.
Seconde- is normally used to deflect an attacking blade wicleof the outside-low
line,
in which cqse:
o fbrearm - horizontal,hand,in pronation
o point - shouldbe lower thanthe hand
' blade- held wide enoughto preventthe attacking
bladereachingthe extremesof the
target
. backof the hand- is in line with the fbrearm.
Tierce - is normally used lo deflect an attacking blade wide of the outside
high-line,
in which cuse:
o fbrearm- horizontal,hand in three-quarterpronation
o bladeis held so that the point is higherand inclined
outwardsrelativeto the verticaland
wide enoughto preventthe attackingbladereachingthe extremesof the tarset
o back of the hand in line with the fbrearm.
Quinte - is normully used to deJlectan attacking blaclewide of the inside-low-line, in
which case:
o forearm- adjustedto the heightof the attackingblade
o handin pronation
o point - is normallyheld slightlyhigherthanthe hand
o backof the hand- is in line with the forearm.
Note: Theabovedescriptions
of the f-encing
positionsare fbr guidanceonly. Coacheswill
understand
that they arenot fixed, but may needto be adjustedto copewith the height
of the
attackingblade.
Covering
To be coveredis to engagein sucha way that the line in which the swordsare
crossedis
closedto a directthrust.
o when swordsareengagedonly one oithe fbncerscan
be covered.
t Beingcoveredis an advantage,
becauseit limits the opponent'schoiceof attack.
o To achievea coveredposition one may 'closethe line'
'change
or
the engagement,.
Closing the Line/Guurd

Theactionof movingthe handandbradeto achievea crveredposition.
For two same-handed
fencers:
o from a quarteengagementwhereneitherf-enceris covered
o the forearmandwrist are usedto move the bladeacross quarte,
to
pushingthe
opponent'sbladeacrossat the sametime
I stopin an accuratequarteposition.
This movementis easilydeceived- it can,therefore,be usedto draw an attack.
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Changing the Engagemenl (changingthe line)

The changeof engagementis to engagethe opponent'sbladein the line oppositeto the one
of engagement.
fencers:
For two same-handed
- opponentbeing coveredin quarte
. fiom a sixte engagement
o the wrist and/orfingersare usedto draw an anti-clockwisecircle with the point (for a
fencer)to engagethe opponent'sbladein quarteand,at the sametime,
right-handed
the hand adoptsa quartePosition
. stop in an accurate,coveredquarteposition'
This movementis easilydeceived- it can,therefbre,be usedto draw an attack.
Simple (lateral) Parry

Teachinitially fiom sixte to quarte(or vice-versa)on an attackto the high-line:
o startfrom a coveredposition
o at any point during the executionof the parry, the bladeshouldbe parallelto its starting
position
o maintainthe handat breastheight
o maintainthe forward positionof the hand
o pivot at the elbowandwrist
. stopin an accuratecoveredposition,(sixteor quarte')
r in sixtethe pommelis on the wrist, in quartethe pommelis slightlyaway fiom the wrist.
Circulur (coanter) PanY

Teachinitially the circularparriesof sixte and quarteon an attackto the high-line:
e startfiom a coveredposition
bladewith the fbrte
o point describesa completecircle(ellipse)to collectthe opponent's
and retumsto the original coveredline (i.e. the startposition)
o althoughmost fencingmanualsdescribethis as "a fingermovement",in fact the fingers,
wrist and fbrearmmay all be involved
o maintainthe fbrward positionof the hand
. stopin an accuratecoveredposition.
For a right-handedf'encer:
o circular-sixterotatesclockwise
rotatesanti-clockwise.
o circular-quarte
Semi-Circular Parry
Teachinitially fiom sixteto octave,or fiom septimeto quarte:
o start liom a coveredposition
o althoughmost f'encingmanualsdescribethis as "a fingerand/orwrist movement",in fact
the fingers,wrist and lbrearmmay all be involved
bladewith the forte
r the point describes
a semi-circle(parabola)to collectthe opponent's
and carriesit to the final coveredposition
o maintainthe fbrwardpositionof the hand
. stopin an accuratecoveredposition.
For a right-handedf-encer:
anti-clockwise
o sixte-octaverotates
rotatesclockwise.
o quarte-septime
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Diagonal Purries
This type of parrymovesdiagonallyacrossthe target,e.g.fiom sixteto septimeor from
prime to seconde.
Teaching D iugonal Parries
Suggested
Example:octaveto quarte
Teachit flrst fiom absenceof blade:
o startjust outsideripostingdistancewith the def'enderin octave
attackerextendshis arm to threatenthe opponent'shigh-lineandpausesmomentarily
befbresteppingfbrward slowly to completea straightthrust
def-ender
moveshis handdiagonallyacrossto quarte,and at the sametime swinging
the point in an anticlockwisearc (fbr a right-handed
f-encer)
in orderto collectthe
attackingfbible with his fbrteanddef'lectit wide of the inside-hish-line.
Stress:
o the importanceof collectingthe bladewith the forteandthe rim of the guard
o stoppingin an accurate
quarteposition.
Repeat,graduallyincreasingthe distance,until it canbe executedsuccessfullv
aqainsta fulllunge.
Contraction Parries
Contractionparrie.sare similar to counterparries,but takenin the in oppositedirectionand,
at the sametime travellingacrossto the oppositeline. A contractionparry startingin sixte
would, whilst travellingacrossto quarte,describethe circular action of,a counter-quarte
parry.
TeachingContract ion Paruies
Suggested
example: fiom sixte to quarte.
Teachit first from an engagementwith the defendercoveredin sixte:
o Startjust outsideripostingdistance
o Attackerdisengages
and extendshis arm to threatenthe high-line
o Defender,whilst moving acrossto quarte,executesa completeanticlockwisecircle
(for a right-handed
fencer)anddeflectsthe bladewide of the inside-hish-line.
the transportof the attackingbladeby the defender,using the fbrte and the rim of
the suard
o stoppingin an accuratequarteposition
Repeatfrom a slightly greaterdistanceallowing the attackerto stepfbrward to completehis
attackafterhis extension.
Continueto increasethe distanceuntil the contractionparry can be successfullyexecuted
againstan attackwith a full lunge.
Progress
to attacksfrom absenceofblade.
Furtherprogressto the useof this type of parry againsta compoundattackby one-two. Here
it is sometimescalleda "disruptive"or "spoiling" parry.
Socond
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SuccessivePurries
Successive
parries are two or more parriestakenone after anotheras a defbnceagainst
compoundoffensiveor counter-ofl-ensive
actions:
r
o
o
o
.
o
startby teachingjust two parries

startfiom a coveredposition
move smoothlyto the first parry and acceleratein the secondparry
maintainthe fbrwardpositionof the hand
stopin an accuratecoveredposition
selectthe final parry to facilitatethe riposte.
Examples parry sixte - quarte

parryquarte- sixte
- octavc
parrycounter-sixte
parry quarte- septlme

parry counter-sixte- counter-sixte
parry counter-sixte- quarte
Ceding Pamies
Cedingparries usethe fbrce of the opponent'sprise-de-/br,to divert both the def-ending
and
attackingbladesinto anotherline and,at the sametime, closingthat line defensively:
.
o
skill - essentiallyinvolvesthe timing of whento give way in orderto lbrm the parry
allow the opponentto executeapproximately
a half to two-thirdsof the prise-de-f-er
befbregiving way and fbrming the parry (i.e. begin to parry during the last third of the
prise-de-fbr)
opponent's
bewareof giving way too soon thusallowingopponentto redirectthe attack.
Examples ./br nuo./bncersof'the samehand:

- on a bind fiom quarteto octave,Cedeto quarte
- on an envelopmentin sixte, Cedeto prime
Opposition Parries
Oppositionpurries
opposethedirectionofthelastpart
of aprise-de-/br(oro//ensiveaction
in opposition)deflectingthe attackingbladeaway fiom the target:
.
.
skill - essentiallyinvolvesaccuratetiming in dropping(or lifiing) the point in order

to transf-ercontrol of the attackingfbible into the fbrte of the defendingblade
allow the opponentto executeapproximately
a half to two thirdsof the prise-de-f-er,
befbredropping(or lifting) the point whilst fbrmingthe parry (i.e.beginto parryduring
the lastthird of the opponent's
prise-de-f'er)
bewareof opposingtoo soon thusallowingopponentto redirectthe attack.
Examples-.fir two./bnc'erso/'the ,yamehund;

- on a bind fiom quarteto octave,Opposeto octave
- on an envelopment
is sixte,Opposeto sixte.
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Defence Genersl
Opposition in a parry
The def-ender
holdsthe attackingblademomentarilyaftercompletingapar-ry
fbr oneor
moreolthe lollowingreasons:
o to ensurethe clearanceof a fbrceful attack
o to preventa remise
o to feel the opponent'sreactionupon being
so the appropriate
ripostecanbe
used.
Detachment in a Parry
The defenderpremeditatesthe type of riposteto be usedand leaves
the opponent's
blade
immediatelyafter parrying it.
Aclvantage- speed- much t-asterripostethan after an oppositionparry.
Disadvantage- theripostemay not alwaysbe correctlypremeditated
and thereis always
the dangerof a remise.
RIPOSTES
At any time duringthe teachingof ripostcs,revise 'thc hit' if neccssarv.
Direct Riposte
A directriposteis the ofrensiveactionmadeafter successfullyparryi

rng an attackand
directedinto the sameline as the parry was taken
Normallytaughtas a conventional"right of way', following a successful
parry.
For two fencersof the samehandit is convenientto teachihe
movementfbllowing aparry
of quartebecausethe targetis more open.
Initially,to avoid unnecessary
strain,ieach the ripostefbllowing an attackwith a steprather
thana lunge.
o
t
o
t
maintainthreequartersupination
bringthe point down into line with the targetusing the wrist
and/orfingers
accurateplacementof the point on the valid targetwith the wrist
and/oi fing"r,
only usesufficientextensionof the sword arm to give the character
of penetration.
to executingthe ripostefollowing an attackwith a half lunge,

and finally with a full
frogres-s
lunge' In both casesthe attackershouldremainon the lunge
after h[ attacki. p#1.a.
Indirect Ripostes
Anindirect riposteis the offensiveaction,fbllowing the successfulpany
of an attackand
directedinto a different line to that in which the pariy was taken.
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Disengage Riposte
A disengageriposte is the oflensiveactionmade(after successlullyparryingan attack)in
onc motion by passingthe point into a diflerentline. In the high-linethe point will pass
underthe opponent'sblade,but in the low-lineit would passover the opponent'sblade.
Normallytaughtas a conventional"right of way", following a successful
parry,againstan
opponentwho, anticipatinga dircctriposte,automaticallycloseshis openline afterbeing
parried.
For two f-encersof the samehand it is convenientto teachthe movementfbllowing a paffy
ol-quartewhercthe opponentautomaticallycloseshis own line of quarteafterbeingparried.
Initially,too avoid unnecessary
strain,teachthe ripostefollowing an attackwith a steprather
thana lunge.
Stress:
o maintainthreequartersupination
o the accurateuseol'the wrist and/orfingersto manipulatethe point aroundthe
opponent'sbladeand arm,duringhis coveringaction
. fbr two right-handed
f-encers,
this movementwill be a clockwisearc
. stopthe movementwhen the bladeis in line with the target
. do not extendto hit until this movementis completed- to avoidhitting the
opponent'sarm
o accurateplacementof the point on the valid targetwith the wrist and/orfingers
. only use sufficientextensionof the sword arm to give the characterof penetration
Progressto executingthe ripostefbllowing an attackwith a half lunge,and thenwith a full
lunge. In both casesthe attackershouldremainon the lungeafterhis attackis parried.
Finally requirethe attackerto returnto guardwith his defensiveaction so that the riposteis
deliveredwith a lunge. Becauseof this increased
distance,the arm may now be extended
with thc disengage
action.
Example,r - parry sixte, riposteby:
- disengageto high line

- disengage
supinatedinto the low-line
- parryquarte,riposteby
- disengage
into the high line
- disengage
pronatedinto the low-line.
Cou nter-dis engsge Rip oste

A counter-disengage
riposte is the ollbnsive actionmade(after successfullyparryingan
attack)in one motion and which deceivesthe opponent'schangeof line.
Normally taughtas the conventional"right of way", following a successful
parry,againstan
opponentwho, anticipatinga directriposte,automaticallychangeshis engagement
(takesa
circular parry) after his attackhasbeenparried.
For two f-enccrs
o1'thesamehandit is convenientto teachthe movementfbllowinga parry
of quartewhere the opponentautomaticallyexecutesthe actionof a counter-sixteparry after
his attackhasbeenparried.
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To avoid unnecessary
strainteachthe riposteinitially fbllowing an attackwith a steprather
thana lunge.
Stress:
a
maintainthreequartersupination
a
the accurateuseof the wrist and/orfingersto manipulatethe point aroundthe
opponent'sbladeand arm,duringhis defensiveaction
a
fbr two right-handed
fencers,this movementwill be an anti-clockwise
circle
a
stopthe movementwhenthe bladeis in line with the target
a
do not extendto hit until this movementis completed- to avoidhittingthe opponent
off tarset
o accurateplacementof the point on the valid targetwith the wrist
and/orfingers.
t onlYusesufficientextensionof the swordarm to give the character penetration.
of
Progressto executingthe ripostefollowing an attackwith a half lunge,and then with a full
lunge. In both casesthe attackershouldremainon the lungeafter his attackis parried.
Finally,requirethe attackerto returnto guardwith his defensiveactionso that the riposte
is
deliveredwith a lunge. Becauseof this increased
distance,the arm may now be extended
with the counter-disengage
action.
Cut-over Riposte
A cut-overriposteis the oflbnsiveaction made(after successfullyparrying an attack)in
one
motioninto a differentline by passingthe bladeover the opponent'spoint. In the low-line
thebladewill passunderthe opponent'spoint.
Normallytaughtas the conventional"right of way", following a successfulparry, against
an
opponentwho normally keepshis point low and who, anticipatinga direct ripori.,
automaticallycloseshis openline after being parried.
Fortwo fencersof the samehand it is convenientto teachthe movementfbllowing aparcy
of quartewherethe opponentautomaticallycloseshis own line of quarteafter being parried.
To avoidunnecessary
strainteachthe riposteinitially fbllowing an attackwith a steprather
thana lunge.
Stress:
o the accurateuseof the wrist and forearmto lift the bladeover the
opponent,spoint,
duringhis coveringaction
o slightlypronatethe handduring the action of lifting the blade
o returnthe handto three-quartersupinationas the bladeis broueht
down
the
openingline
o accurateplacementof the point on the valid targetwith the wrist
and/orfingers
' only usesufficientextensionof the sword arm to give the character penetration.
of
to executingthe ripostefbllowing an attackwith a half lunge,and then with a full
|rof.rt
lunge. In both casesthe attackershouldremainon the lunge after his attackis parried.
Finallyrequirethe attackerto returnto guardwith his def-ensive
action so that the riposteis
deliveredwith a lunge. Becauseof this increaseddistance,the arm may now be extended
with the cut-overaction.
Sdition- January2004
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Kev TeachinqPoints- FOIL
First Counter-riposte
A./irst counler-ripo,ste
is an oflensiveactionmadeafter successlullyparryinga riposte.
Teachinitially, as a premeditated
action,following a simpleattackand a directriposte,in which
case:
o attackwith a straighteningarrn,point threateningthe target
o lungefully with the fiont foot, but hold the bodybackslightlyon the lunge
o maintaingoodbalanceon the lunge
. paffy the ripostewell forward from the extendedarm position,keepingthe clbow down
o accuratelyplacethe point with the first counter-riposte.
Secon d Counter-ripo ste

A secondcounter-riposteis an offensiveactionmadeafter successfullyparryinga.first
counter-riposte.
Teachinitially, as a premeditated
action,fbllowingthe aboveexampleof a f-irstcounter-riposte,
in which case:
o the riposteshouldhave sufficientdepthto provokethe first counter-riposte
. parry the counter-ripostewell fbrward fiom the extendedarm position,keepingthe elbow
down
o accuratelyplacethe point with the secondcounter-riposte.
- suchthattheattackermakesall theoddnumbered
Counter-ripostes
are numbered
counter-ripostes
and the defender makes all the even numbered counter-ripostes.
CompoundRiposte
A utmpoundripo,steis an off-ensive
actionfbllowing a successful
parryand which includes
one or morefeints'.
. usedwhen indirectripostesareunsuccessful
o f-eintsareusedto provokeparrieswhich arethendeceived
r bewareof extendingthe sword-armtoo soon
o observethe probabletype of parry
o exccutea convincingfeint into an openor, better,into an openingline.
Choiceof riposte,dependsupon:
o the openingfor the feint
o the probabletype of parry.
- wherethe attackerreturnsto the on-guardpositioneitherclosingor changingthe
Example,s
line:
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PageI 8
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uffrrnr:in[
ffritistlHcabemg
Two-Time
f.eintwith the extensionof the sword arm
deceptionof the parry with the flnal actiono1'theriposte(i.e.step,lungeor
fleche)to hit
two periodsof fbncingtime
usedagainsta f.encerwho readily reactsto f-eints.
Progressive
- fbint and deceptionexecutedon the samestep,lungeor f'leche
- oneperiodof f-encing
time
- usedagainsta f'encerwho doesnot readilyreactsto feints.
Broken-time
referto the section"broken-time"
morethanoneperiodof f-encing
time.
RipostesGeneral
In the earlystages,the pupil(s)shouldbe encouraged
to hold the parry slightlybefbre
riposting.This will allow the coachto checkthat the parry hasbeenfbrmedcorrectly.In
additionto this it is importantto checkthe timing of the pupil's parryrelativeto the
presentation
of the attackingblade. However,as soonaspossible,the pupil(s)shouldbe
encouraged
to usemore immediateripostes.
Becauseof the relativecloseness
of the opponent,ripostesmay requirea biggerarm and/or
blademovementin order the get aroundthe opponent'sblade.
PREPARATIONS
In the FrenchSchoolofFencing therearethreecategories:
makingand breakingground(steppingfbrwards/ backwards)
attackson the blade(attaques-au-fer)
takingsof the blade(prises-de-f-er).
FOOTIYORK
It is essentialto relateall fbotwork to the offensiveor def-ensive
actionbeing prepared.
SteppingForwsrds snd Buckwards
may be executedat variousspeedsin any sequence
usevariety in the sizeof the stepstaken
rememberthat smallstepsmakeit easierto adjustandcontroldistance.
The Appel
An appelis the striking of the groundwith the ball of the foot:
SSTT
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r
o
o
most commonly,thc fiont foot is moved fbrward as in the actionof a stepfbrward,but

befbrethe stepis completed,the ball of the fbot is struckon the ground
the front foot strikesthe groundduring,or immediatelybelbrethe executionof a further
fbot action or of-fensive/defbnsive
action
the appelmay alsobe executedwith the backfbot.
The Bulestra
A balestrais a shortjump fbrward, with both feet landingsimultaneously:
o
o
'
the action is that of a shortstaccatojump fbrward

mostcommonly,duringthe actionofjumping fbrwardthe ball of the fiont fbot is raised.
the heelis clearedof the groundandthenat someshortdistancefbrwardof the orisinal
position,the ball of the fbot is struckon the ground
simultaneously,the rear fbot just clearsthe ground,and is broughtfbrward (a
correspondingdistanceto that of the front fbot) and is also struckon thc sround.
ATTACKS ON THE BLADE (attaques-au-fer)

Theseare the beat,pressure andfroi:;sement.
Any attackon the bladeshouldbe relatedto the offensiveor def-ensive
actionbeins
prepared.
Beot
A prcparationof attackmadeby suddenlystrikingthe opponent'sblade. The objective
beingone or moreof the fbllowing:
o to gain right of way
o to provokea reaction
o to knock the opposingbladeasideand/orexposethe rarget
o to unsettlethe opponent
Emphasise:
' crispnessof the beat,executedby llexing the wrist (or openingand closingthe
hand)
. spring-board
action(or beating-board
action,as in a gymnasticvault)
o sword movesdiagonallyfbrward to beatand then fbrward to hit
Beut direct:
o emphasise
speedfiom beatto hit.
Beot disengoge:
r teachas a progression,
when the classobservesthe instinctivcreaction(usuallya
simpleparry)to the beat
. emphasise
the swing of the bladefbllowing the beat
. accurateplacementof the point.
SSTT
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Change-Beat
A suddencrispbeaton the opponent'sbladein the oppositeline to thatof the engagemenr.
Like the beat,the changebeat may be usedto:
o to gainright of way
o to provokea reaction
o to knockthe opposingbladeaside
o to unsettlethe opponent
Emphasise:
o a circularaction,similarto that of the changeof engagement
is executedbefbrebeatins
the opponent'sbladein the oppositeline.
crispness
of the change-beat,
executedby llexing the wrist (or openingand closingthe
hand)
a
spring-board
(or beating-board
action,as in a gymnasticvault)
o
swordmovesforward to executethe change-beatand then fbrward to hit.
Change-heatdirect:
o emphasisespeedfrom beatto hit
Change-beatdisengage:
o teachas a progression,
when the classobservesthe instinctivereaction(usuallya
simpleparry) to the change-beat
. emphasise
the swingof the bladefollowingthe change-beat
o accurateplacementof the point.
Generallactical approachfor beatsand change-beuts

Oftenusedto takethe right of way from an opponentwho maintainsa straightarm, in
thiscasethebeatmustdeflectthe opponent'sbladeout of rine.
Whenusedas a preparationof attack,the attackis usuallydeliveredon the opponent's
reactionto the beat.
Pressure
As its nameimplies,this attackon the blade is the exertionof a suddenfbrce on the
opponent'sblade. The subtletyand varianceof the strengthof the pressurecan stimulatea
varietyof responses
from the opponent,which may be usedto the advantageof the fencer
makingthe preparation.
Theobjectiveof the pressurebeing one or more of the following:
o to pushthe bladeaside
o to exposetarget
o to get a reaction
. more subtlethan a beat
o executedfrom an engagement
(foible to foible)
o bestemployedas a preparationfor a disengage
Page2l
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.
emphasise
the opponent's
reactionto the suddenfbrceon their blade.
Froissement
An attackon the bladethat displacesthe opponent'sbladeby meansof a sharp,strong,
grazingaction diagonallyfbrwardsand downwardsfrom fbible to forte. Usedto upsetthe
opponent's
grip and or controlof the sword.
Teachinitially from an engagement
andprogresstowardsexecutingthe actionfrom absence
of
blade:
. if executedin quarte- slightly pronatethe handwhilst severelygrazingdown the
opponent'sblade
o if executedin sixte- slightlysupinatethe handwhilst severelygrazingdownthe
opponent'sblade
. emphasise
the sharpness
andpowerof the action.
Compound Preporations
Compoundpreparations aretwo or more preparationsmadesimultaneously,e.g. a step
forwardwith a beat.
For teachingpoints seeFootwork,Attackson the blade andprises-de-fer.
Timing is the essentialthing and this dependsuponthe intentionfollowing the compound
preparation.Examplesof this intentioncould be:
o to createan opportunityto attack
o to draw an attack.
Double Preparations
Doubleprepqrationsare two preparationsexecutedsuccessivelynot simultaneously,e.g.a
stepfbrward fbllowed by a beat.
For teachingpoints seeFootwork,Attackson the blade andprises-de-Jbr.
Timing is essential,i.e.the variationof timing betweenthe two preparations
dependsupon
the intentionfollowing the doublepreparation.
TAKINGS OF THE BLADE (Prises-de-fer)

A pri'se-de-./br
transportsthe opponent'sblade away from its existing line into a preferred
position,openingthe way fbr an ol-fensivcaction.
The namedprises-de-/brarethe hind, the croise and the enveropment.
The engagement,thechangeof'engagementandcoule may also,dependinguponthe
mannerin which they are executed,be regardedas prises-de-fbr.
Any takingof the bladeshouldbe relatedto the of'fensiveor def'ensive
actionbeing
prepared.
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ufSfenring
The Engagement
When a fencercrossesswordswith an adversarythe blades areengctgetl.
Theengrgement
corresponds
to the line in which the swordsarecrossed.
Revise:
o namingthe engagement
o c l o s i n gt h c l i n e
o covering.
Engagements
areachievedfiom absence
of blade.
The actionof engagingthe bladecouldbe usedto:
o draw an attack
. draw a reactionfrom which to attack
o achievean engagement
to facilitatean attackfiom that line.
The Chonge of Engagement
The changeofengagementengages
the opponent'sbladein the line oppositeto the one of
engagement.It canbe executedby passingunder,or overthe opposing
blade.
Changesof engagementare madefiom an engagement.
The actionof changingthe engagement
could be usedto:
o draw an attack
o draw a reactionfiom which to attack
t changingthe engagement
to a particularline to facilitatean attackfrom that line.
Couli
This movementis a grlz,edown the opponent'sblade,executedby straightening
the arm and
maintainingcontactwith the opponent'sbladethroughout.This action riay
be igarded as a
simpleattack; an attack on the brade;or even as a prise-de-fbr.
For two same-handedfencer,s;
o initiallytaughtin sixte,againstan opponentwho
hasa low handwith the point
slightly higherthan rhe hand
a
startjust outsideripostingdistancewith the handin sixte
O
takea counter-sixteactionwhilst extendingthe arm, suchthat the middle
of the
bladeengagesthe opponent'sfbible
a
the engagement
shouldoccurat approximatelytwo thirds of the full arm extension
a the attackingpoint shouldbe kept
low, relativeto the hand,when the hit occurs
a
the opponent'spoint shouldbe deflectedaway from the targetas the
attackingarm is
extended
a
maintaincontactwith the opponent'sbladethroughoutthe execution
of the action
a
whenthe coachis satisfiedwith the extendedarm position,add the
angulationand
hit
o point movesstraightto the target,whilst the hand
and guard move diagonally
forward.
concentrateon: theforwardmovementof the point, straightto the target.
8condEdition- January2004
SSTT
Page23
P u b l i s h e bd y t h e
rt frncinq'
ffritisf Hr:nilrtnE
Bind
The bind transports
the opponent'sbladediagonallyacrossthe targetfrom a high-lineto a
low-lineor viceversu.
Most efl.ectively
usedas an attack:
o initially taughtfrom quarteto octave,againsta fencerextendingthe sword arm into the
high-linewith a high handanda slightlylower point;
a
engagcthe opponent's
bladein quartewith slightdomination,
a
pivot over andcarryit acrossto the oppositelow-line
o
extendthe arm,maintainingcontactwith the blade,andhit
a
keepcontactwith the opponent'sfbible, acrossthe rim of the guardand the fbrte,
throughoutthe action
a
hand- maintainedat breastheight
a
do not attemptto usethe fingers- this is a wrist and fbrearmaction
O
on extendingto hit, usethe opponent's
bladeas a pathto the target.
Croisti
The cntise transportsthe bladedownward(or upwards)while keepingit on the samesideof
thc target:
Most eff-ectively
usedas a riposteor counter-riposte
becausethe opponent's
point is keptwell
clear of the target(importantin close-quarterfencing).
Teachinitially from quarteto low quinte,againsta fbncerextendingthe sword arm into the high
line with a high handand a slightlylower point:
. engagethe opponent's
bladein quarte
o pronate- with slightdomination(crossingof bladcs)
. bearverticallydown - to low quinte
o angulateand hit
o maintaincontactwith the opponent'sfbible, acrossthe rim of the guardand the fbrte,
throushoutthe action.
Envelopmenl
The envektpmentdominatesthe opponent'sbladeas it carriesit aroundin a circle returnins
to the originalline.
Teachinitially fiom sixte,againsta fbncerwho extendsthe arm with a low handanda
s l i g h t l yh i g h e rp o i n t :
o startjust outsideripostingdistancewith the handin half quarte
. opponentthreatens
the slightlyopenline of sixte(extendingthe arm)
. engagesixtewith slightdomination
. completelyencirclethe bladein a circularaction(clockwise- fbr a right-handed
fencer)
e extendthe arm,duringthe lastthird of the circularaction,to hit
r maintaincontactwith the opponent'sfbible, acrossthe rim of the guardand the forte,
throushouttheaction
SecondL,dition- January2004
SSTT
Page24
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uffuncing
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o
hand- maintainat breastheight

do not attemptto usethe fingers- this is a wrist and fbrearmaction
on extendingto hit, usethe opponent's
bladeas a pathto the target.
||
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Compound Prises-de-fer
Two or moreprises-de-Jertakencontinuouslywithout losing contactwith the opponent's
blade.
Normallyusedagainsta fbncerwhosereactionis to lift or lower his arm,duringthe prisede-f-er,
whilst maintaininga straightarm.
Examples - fiom quarte,bind to octave,then bind to quarte
- from sixte,envelopin sixte,thencroisdin low sixte
- fiom sixte,envelopin sixte,thenbind to septime.
Teachinitially steppingwith the first prise-de-fer
and lungingwith the secondprisc-de-fer.
FI
llr
For teachingpoints refer to "Prises-de-/br"above.
Iri
Double Prises-de-fer
l'a
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Two or moreprises-cle-fbrduring which thereis a momentaryloss of the blade.

Normally usedagainsta fencerwho deliberately(or accidentally)slipsoff the first prise-def-erto re-directthe point into a openline whilst maintaininga straightarm. Wherethe blade
is presentedon the loss of blade,therefbredeterminesthe choiceof the secondprise-de-fbr.
For teachingpoints refer to "Prises-de-fer"above.
Examples
- engagequarte,bind to octave(bladelost),retakein sixteand eithercoulethrough
sixteor bind to septime
- fiom sixte,coul6or envelop(bladelost),retakein quarteand eitherbind to
octaveor crois6from quarteto low quinte.
Takings of the Blude General
o Best employedagainstthe type of fencerwho maintainsa stiff, straightarm with
the point threateningthe target.
o Most importantis the useof the guardand fbrte againstthe fbible of the
opponent's
bladeto takethe bladeand point out oi line.
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Page25
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COUNTER-OFFENSIVEACTIONS
Stop-Hit
actionmade,for example,into an opponent'sattack. At
A stop-hitis a counter-offensive
fbil, to be valid over an attack,thestop-hitmust arrive oneperiocloJ'./bncingtimabeforethe
flnal movementof the attackarrives.
Teachinitially on a badly executedcompoundattack:
o controlof distanceandtiming
o accuracyofthe point,handand arm
o makeuseof a visualand/ortactilestimulusto initiatethe counterattack
. hit without being hit (or at leastone period of fencingtime aheadof the attack).
Stop-Hit with Opposition

The stop-hitter anticipatesthe final line of the opponent'sattack andstop-hitr, in opposition.
into that line - thus deflectingthe attackingbladeat the sametime as the stop-hil is made.
At foil, becausethis actionis madeinto the flnal actionof the attack,it cannotbe valid if the
attacklandson or off target.
Note: Stop-hitsin oppositionwere.formerlyknown as
'time-hits'.
Teachinitially, startingfiom quarte,as a stop-hitin oppositionthroughsixteon a disengage

attackinto the sixte line:
o the opponent's
hit shouldnot land
. generally,this is a premeditatedactionbasedupon observationof the opponent'sattack
o correctanticipationof the flnal line of the attack
o stressthe needfor this observationof the opponent'sfinal line o1'attack
e a stop-hitin oppositionin the high-lineworksbeston an opponentwho attackswith a
low handand a fairly high point
o a stop-hitin oppositionin the low-lineworksbeston an opponentwho attackswith a
high handand a fairly low point
. useboth the guardand the forte to deflectthe attackingblade
o timing is critical- much practiceneeded
o point - movesstraightto the target,whilst the handmovesdiagonallyfbrwardusingthe
fbrte and guardto deflectthe attackingblade.
Concentrateon: the lbrward movementof the point, straightto the target.
COUNTER-TIME
counter-of-fbnsive
action.
Everyactionmadeagainstan opponent's
Teachinitially aspremeditated
action.
One of the simplestexamplesis to draw a stop-hit,parry it and riposte:
SSTT
Page26
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Hcn0+nrg
ffiritisTl
ufferuing
a
a
a
a
fbr thereto be a stop-hit,theremust be an attack

stop-hitmustbe drawn(i.e.the attackmustlook as thougha stop-hitwould be
efl'ective)
parry takenwell lbrward
afterthe successfulpafiy, addthe riposte.
Distance:
o
o
too closeandthe stop-hitis likely to be successful

too f'araway and the stop-hitmay not be provoked.
Ripostewith oppositioncouldpreventa renewarof the stop-hit.
BROKEN-TIME (Tempsperdu)
A pausedeliberatelymadebetweentwo movements,
which normallyfbllow eachother
immediately.
Note: 'Tempsperdu 'means 'lo:;ttime'.
Normallyusedagainsta well-controlledopponent,who delaysparryinguntil the last
possible
moment:
3 vrYlong deepf-eint,so deepthat the bladeneedsto be withdrawn
to avoid the parry,
thus breakingnormal fbncingtime (i.e. lost time - tempsperdu)
o
accurateplacementof the point in the open(or opening)line
a
stressthe dangerof developingautomaticbroken-timeactions- they shouldbe used
sparingly
pupil(s) shouldbe warnedthat badly plannedand executedbroken-timeactions
are
easilyintemrptedby a counter-attack.
Note: the final part of a broken-timeactionmay be executedsimple or compound,with
or
without:angulation,
oppositionor by prise-de-fer.
THE DEROBEMENT
Theevasionof the opponent'sattemptto find the blade.
The fencerexecutingrhederobementmustinitiate the movementby straightening
the arm
andmaintainthe right of way throughoutthe movement(the opponentis, therelbre,
attackingonto a straightarm).
Teachinitially againstan attackby bind:
o extendthe arm,handand point in line with the shoulder,point
threateningyour
opponent'starget
asthe opponentattemptsto executean attackby bind, evadethe bladeby a wrist
/finger movement
o
the arm must not bendduring the executionof the movement
o
thepoint must,at all times,remainin line with the valid tarset
a
thereshouldbe no contactof blades
Second
SSTT
Page27
Publishedby the
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.
a derobementmay be executedfrom a stationarypositionor whilst moving away but

not whilst moving forward (becausethis would be an attack).
Note- this actioncanbe executedsimpleor compound.
RENEWED OFFENSIVE ACTIONS

Remise
Theremiseis a renewedoffensiveactionin which the bladeremainsin the line in which it
was parried(or missed)and is thenreplacedon the target;or it is left in line for the opponent
to advanceonto.
Normally usedagainsta f-encerwho parriesand opensthe line, but fails to riposteor a fencer
whoseriposteis eitherindirector compound.
action.
to be a premeditated
Generallyconsidered
Ideallythe hit shouldbe placedwith the wristifingers.
to bendthe arm.
it may be necessary
Undercertaincircumstances
Teachit initially on an openingline, thenon an indirectriposteand finally on a compound
riposte.
Executedas a renewedattackas follows:
. full lungewith the legs,but deliberatelyshortwith the body and the arm
o placethe point immediatelyafter it is releasedfrom the opponent'sparry
. may be executedwith or without opposition.
Notes:
Any movementof the sword arm, befbrethe hit, makesthe renewala redoublement.
Any movementof the legsmakesthe renewala reprise.
Redoublement
The redoublementis a renewedof fbnsiveaction,into the sameor a different line from that
in which the bladewas parried,by an additionalmovement(or movements)of the blade,
arrn or body. The feet do not move.
who parriesand fails to riposteor delaysthe riposte.
Normallyusedagainsta f-encer
action.
to be a premeditated
Generallyconsidered
with the hand/wrist.
Ideallythe point shouldbe manipulated
to bendthe arm.
it may be necessary
Undercertaincircumstances
Teachit flrst as a disengagefollowing an attackwhich hasbeenparried
Executedas a renewedattackas fbllows:
. full lungewith the legs,but deliberatelyshortwith the body and the arm
SSTT
Page28
P u b l i s h ebdy t h e
uffeflcitlg
ffririsTtHcsbrtffiE
.maketheredoubleimmediatelyaftertheattackhasbeenpanied
and the placing of the point'
o stressthe rapid and accuratemanipulationof the blade
Nttlt's:
oanymovementofthef-eetturnstheredoublementintoareprlse
action
o may be executedas a direct,indirector compound
and/orby prise-de-fer'
angulation
o may be executedwith or without opposition,
Reprise
involvesadditionalfbot movement(s)'This
The repriseisany renewedoffensiveactionthat
or backwards'
usually involves a returnto guardeitherfbrwards
against
Used
-o"pu
, , i " , wai tf-encer
h a s t ewho:
pbackandf-ailstoriposteordelaystheriposte
o
the riposte'
panies without footwork and fails to riposteor delays
Generallyconsideredto be a premeditatedaction'
hand/wrist(undercertaincircumstancesit
ldeally the point shouldbe manipulatedwith the
to bendthearm)'
may be necessary
Teachinitiallywithadisengageactionfollowinganattackwhichfailsbecausetheopponent
takesa panY whilst stePPingback'
Executedas a renewedattackas fbllows:
body and the arm
. full lunge with the legs,but deliberatelyshortwith the
on the opponent'sblade as the
. keepthe arm straightand maintaincontactand tension
intention)
rear tbot is broughl forward (to concealyour
final part of the reprise'
o only releasethe bladewhen in positionto deliver the
Notes:
action
o may be executedas a direct' indirect or compound
and/orprise-de-f-er'
angulation
o may be executedwith or wiihout opposition,
Renewals- General
All olfensiveactionsmay be renewed'
Tobevalidrenewalsmustlandoneperiodoff.encingtimebeforethef-rnaloffensiveaction
ofthe opponent.
EVASIONor AVOIDANCE (Esquive)

one's targetfrom the line of the attack'
Any actionmadeto avoid beinghit by displacing
esquivesare: In Quartatct'Passutasrttttt
suchas ducking,sidestepping,-"t". The named
andRassemblement-
SecondEdition - JanuarY2004
SSTT
Page29
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uff*rring
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In Quortata
An evasivemanoeuvreexecutedby pivotingon the front foot and movingthe rearfoot
sidewaysto makea half tum to the outsideline in orderto avoidbeinehit. It is often
accompanied
with a stop-thrust.
Teachinitially merelyas an evasionof a straightthrust(withoutthe stophit):
. keePheadas still as possiblekeepingthe eyesflxed on the opponent'starget
o fiont fbot remainsstill, but somef-encers
who do not havefull f'lcxibilityof ankle,
kneeandhip may preferto pivot on the ball of the foot
. movementis initiatedby back fbot steppingsidewaysbehindthe swordarm
o trunk of the body is alsoturnedsidewaysevadingthe line of the opponent'sthrust
o leavethe evasionas lateas possible
. movementis only effectivelyusedsparinglyandas a surpriseaction
. add the stop-hitwhen the movementis satisfactory.
Passotusotto
An evasivemanoeuvreexecutedby placingthe unarmedhandon the floor and,at the same
time, duckingbelowthe attackingbladeinto a rear-lungeposition. The movementis
usuallyaccompanied
by a stop-thrust.
Teachinitially merelyas an evasionof a straightthrust(withoutthe stophit):
. keepthe eyesfixed on the opponent'starget
o fiont fbot remainsstill
. movementis initiatedby backfbot beingmovedbackwardsinto the lungeposition
o pivotingfrom the waist,the trunk of the body is thenmoveddiagonallydownwards,
below the attackingblade
r to help maintainbalance,the rearhandis placedon the pistea shortdistanceto the
inside of the front knee
o leavethe evasionas lateaspossible
. movementis only ef-fective
when usedsparinglyand as a surpriseaction
o add a stop-hitinto the low-linewhenthe movementis satisf-actory.
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Russamblement
A methodof withdrawingby pulling the fbrwardfoot backto the rear fbot (requiring
standingup).
The movementis rarely, if'ever, useclat.fitil, but it is verrye.//bctivein Epee.fencingagain,st
attucksto./bot wherethe mtnementis usuallyaccompaniedby a stop-hit to urm.
CrossoverStep
A crossoverstep is an altemativeto the normal methodof making (or breakingground)by
crossingthe legsduringthe movement.It hasthe advantage
of coveringmoregroundbut
the fenceris easily"wrong footed"if he/shedoesnot choosethe correcttime to usethe
movement.
Crossoverforwsrd
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ffritisfi flcaitetttp
Rearfbot is broughtfbrward and placeddown in front of and at right anglesto the

fbrward fbot, which is then moved forward to assumethe normal on guardposition.
Crossoverbackword
Front fbot is movedbackwardsand placeddown, toe first, behindthe back fbot, which is
thenmovedbackwardsto assumethe normalon guardposition.
MISCELLANEOUSNOTES
Fencing Time (tempsd'Escrime)
Oneperiod o/./bncingtime is the time takenby a fencerto executeone movementof blade,
arm, body or legs- or any of thesesimultaneously.
Reaction Time
In simplisticterms, a fbncer's reaction time may be regardedas the time it takesfor a fencer
to perceivethe commencementof a simple attackand to executea singleparry. Some
have f-asterreactionsthan othersbut, on average,the time for sucha reactiontime is
f-encers
aboutone-tenthofa second.
Again, in simplistic terms,this reactiontime may be relatedIo distanceas follows.
If an attackerhasthe initiative, and is very closeto his opponent,he shouldbe ableto hit
beforehis opponentcan parry. We could saythe attackeris insidethe defender'sreaction
time.
parriesas often as he is hit. We
Experimentationcould find a distancewherethe def-ender
could now say that the attackeris at the defbnder'sreaction time.
If the distanceis increasedbeyondthis point, the defbnderwill alwaysparry the attack.
Here we could say the attackeris outsidethe defender'sreaction time.
Most f-encingmovements,beyondthe fundamentalpositionsand movements,therefbrehave

the objectiveof gaining time and distanceon an opponentor, more simply, "getting inside
an zpponent'sreaction time" .
ra
IC
Offensive aclions
or
May be executedlrom all supinatedor pronatedlinesand fiom eitheran engagement
ofblade.
absence
f.
F.
f.
f.
T
Opposition
. All ofl.ensive
actionsmay be deliveredin opposition.
SSTT
Page3 1
Publishedby the
1r
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ffiritisttHcahttttp
During an ofl-ensiveaction,the guardand the fbrte of the attackingbladeare usedto

def'lectthe opponent'sblade thus deflectingthe opponent'spoint away from your
own target.
The easiestoppositionsareeffectedin sixteandoctave.
a
Jf
a
a
;
A ng uI atecl Offe n siv e A ctio ns

eachneedingits own specilic
Thereis a very largevarietyof possibleangulatedmovements,
infbrmation:
. all off-ensive
actionsmay be deliveredwith angulation
o the angulationshouldbe left to the lastpossiblemoment
. by hitting at an anglenearto 90", the point is lesslikely to slip off
. accuracyin directingand placingthe point is essential.
GeneralPoints:
. sutprisevalue,opponentthinks that the line is covered
. a relaxed,flexiblewrist and shoulderareessential
o if the shoulderis tight, it is almostimpossibleto get a goodwrist angulation.
Examples:(f-encers
of the samehand)
supinatedangulationarounda quarteparry
pronatedangulationarounda sixte parry.
g
O
ef
U
u
tt
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)
U
U
U
U
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U
J
t
I
Attacks on Preparation
Simple and CompoundAttacks into an opponent'spreparationare besttaughtinitially on a
fbot and bladepreparation(e.g.stepfbrward with an engagement).
Teachinitially usinga lungeon the attack.
U
U
lf
I
U
For teachingpointssee"Attacks".
lJ
Prises de Fer
May themselves
be usedas ofI-ensive
andiorcounter-of}-ensive
actionsin additionto their
useas preparations.
U
f
f
f
f
t
I
I
I
a
a
I
SSTT
Page32
Publishedby the
a
a
a
rf fenciHg
ffrilisTlflcebemP
Attucks
but as a preparatlon'
A stepor a f-eintwith a bent arm, is not consideredan attack,
From BFA "Rulesfor Competitions"(t'56):
of the arm'
straightening
"A simpleattack,director indirect,is correctlyexecutedwhenthe
fleche'
the
or
lunge
of the
the point threateningthe valid target,precedesthe initiation
..Thecompoundattackis correctlyexecutedwhen the arm is straighteningin the
target,and the arm is not
presentationof the t'rrstf-eint,with the point threateningthe valid
initiation of the lunge or the fldche'
bent during the successiveactionsof the attackand the
is correctlyexecutedwhen
..Theattackwith a step-fbrward-lunge
or a step-forward-f.ldche
fbrward andthe initiation of the
the straighteningof the arm preced"i th" end of the step
lunge or the fleche.
with a bcntann' arcnot
..Actions,simplcor compound,
stepsor fcints,whicharecxccuted
or
opento theinitiationof theoffensive
layingthemselves
bui u, p."parations,
asattacks
considered
ve/offcnsivc action fromthc opponcnt'"
dcfensi
SecondIntention
drawing a movementlrom your
An actionmadeon an inducedresponse(i.e. the act of
opponentand counteractingit)'
Examples - counter-time(draw a stop-hit'parry it and riposte)
- flrst counter-riposte(draw a riposte'parry it and riposte)'
2004
SecondEdition- JanuarY
SSTT
Page33
Publishedby the
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06tltSrfti$f $lcs[rmfst fiatcing

The object of this documentis to provide a summary, in note form, of the

StandingSub-Committeefor Techniqueand Terminology

Philip Bruce, Tom Etchells,Leon Hill and Andrew Vincent

Kcy TeachingPoints- FOIL

I am vcry pleasedand feel grcatlyhonouredto be askedto write a forewordto the "General

Publishedby the SSTT

Kev TeachinsPoints- FOIL

The "GeneralRemarks"and the "Key TeachingPoints"editedby B.A.F. arenot text-books

3 . Vehicledriving (carand motorcycleracing).

Publishedby the SSTT

Key TeachingPoints- FOIL

movementsand the judgesassesstheir accuracy,beauty,level of difficulty,

Key TeachingPoints- FOIL

Very importantin coach'swork and fencer'sactivityis motivation its direction,level,

Kev TeachinsPoints- FOIL

1. The sheerjoy of a f'ast,mobile and versatiletight with a light weapon,with

Key TeachingPoints- FOIL

THE STANCEAND THE ON GUARDPOSITION

Publishedby the SSTT

Key TeachingPoints- FOIL

RegardingBeat Attacks relativeto Foil (cl' pp 2l-22)

that was enactedby the FIE on

Publishedby the SSTT

Key TeachingPoints- FOIL

the handleshouldbe held betweenthe ball of the thumbandthe secondphalanxof the

THE STANCE AND THE ON GUARD POSITION

The On Guard Position

Publishedbv the SSTT

Key TeachingPoints- FOIL

Afier a bout or lesson.

GAINING AND BREAKING GROUND

Key TeachingPoints- FOIL

fbotworkshouldbe executedsmoothlyandnot appearmechanical.

Publishedby the SSTT

Key TeachingPoints- FOIL

keepthe headand body upright throughoutthe f'leche

swordhand may be in pronation,supinationor any intermediate

Note: duringa lunge,the handmay needto be lifted or lowered,relativeto the shoulder.in

Key TeachingPoints- FOIL

Made on the opponent'sattemptto changethe line of engagement:

Publishedby the SSTT

/'(| f )' " '

Key TeachingPoints- FOIL

f-eintwith the ex\e

Progressive: t't ,lbl(L l ru" ",)

TeachingNamed Compound Attacks

lf.^t ; l?:i ;r:t;

Consistsof a f-eintof disengage

Teachit first as a two-timeattack:

Key TeachingPoints- FOIL

finally executefiom full lunging distancein absenceof blade- the def-ender

The Feint-direct, disengage

Kev TeachinsPoints- FOIL

Sixte - is normally used to de/Iect on attacking blade wide of the outside-high-line, in

Pronaled Parries - prime, seconde, tierce and qainte.

Prime - is normally used to deflect an attacking hlade wide of the inside-high-line, in

Key TeachingPoints- FOIL

blade- pointsalmostverticallydownwards,but slightlyfbrwardand hel4 high

Closing the Line/Guurd

Key TeachingPoints- FOIL

Changing the Engagemenl (changingthe line)