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Filed as Classical Fencing, Destreza (Spanish swordplay), General, Historical Fencing, Italian Rapier, Movie Reviews, Opinion, Reviews with 17 replies
(8/24/2009)
LINK TO ARTICLE 1
In the Italian tradition there is an imaginary Line of Direction that describes the shortest path to the adversary.
The Spanish tradition uses this line and expands on the concept to create a 2D planar map of possible footwork laid out in a circle. The Spanish Circle is one of the defining elements of the science and various authors have presented it differently while preserving the core concept.
Carranza’s Circle
Carranza's Circle from his text in 1569.
Here is the same image with labels to provide us a reference.
Carranza's Circle with Labels
The Diameter – The imaginary line separating the two fencers is called the Diameter. It represents the shortest path to the target. The Diameter starts at the lead toe of the fencer (bottom of the red line) to the the lead toe of the adversary (top of the red line). The correct length of the Diameter should be the distance at which the fencer can observe the adversary’s offensive actions and still respond in time.
The Major Circle (Greater Circle) – The central circle shown between the two fencers is called the Major Circle or sometimes just the Circle. By rotating the Diameter about its center, we can create an imaginary circle which functions as a one piece of a footwork map.
The Lines of Infinity- The two parallel lines shown in green are called the Lines of Infinity or Infinite Lines. In the same manner as the Diameter, the distance between these lines is defined by your ability to observe and react to the adversary’s offense. Crossing the Line of Infinity means closing distance into the adversary’s offensive measure.
The Minor Circle – The smaller circles on either side of the Major circle are called the Minor Circles. The fencer and the adversary each stand in the center of a Minor Circle which is defined by the positions of the feet.
The Circle represents a moment of fencing time – The circle is not fixed in location, but instead describes the distance and possible steps within a specific fencing action. Just as the Italian Line of Direction changes when the adversaries move, so to does a new circle occur when the fencers change position. If an adversary has broken your defense and closed measure, the text may advise you to step onto a new circle and this represents the need to reestablish correct distance.
Pacheco’s Circle
Later Carranza’s student Pacheco describes this circle. Note that the origin point for the fencer is at one end of the diameter (bottom of the circle) while the adversary stands on the opposite side (top of the circle).
Pacheco's Circle as shown in his book in 1600.
The primary addition to the Circle is the Square which like the angular lines above in Carranza’s Circle provide us with another indicator for footwork.
We can also map a series of vectors onto this planar diagram which allows us to precisely describe footwork. Remember that a vector is a line with direction and magnitude.
A vector that indicates motion to the right of the reader. (This vector has an undetermined magnitude.)
General Notes
The Spanish treat a step as a motion that starts in stance and ends in stance which requires a motion of each foot. When the fencer moves only one foot, this is specified in the description of the footwork.
To compare this to Italian fencing, we know that an advance starts in the guard and requires a movement from the lead foot followed by the rear foot returning to the guard. Likewise a retreat starts in the guard and requires a movement from the rear foot followed by the lead foot returning to the guard.
By contrast, when an Italian fencer executes a lunge, the fencer starts in the guard and moves only the lead foot. The final position of the lunge is not the guard.
Forward Step
(En español – Compas Accidental )
The fencer advances along the line of the Diameter.
Forward Step (advance)
Backward Step
(En español – Compas Extraño )
The fencer retreats in line with the Diameter.
Backward Step (retreat)
Lateral Step
(En español – Compas de Trepidacion)
The fencer steps along the Line of Infinity either to the left or right. When stepping towards a direction, unless directed otherwise, the fencer will avoid crossing the feet. For example, when stepping to the right, the fencer will lead with the right foot. When stepping to the left, the fencer will lead with the left foot.
Lateral Step (sidestep)
Curved Step
(En español – Compas Curvo)
The fencer steps along the Circle either to the left or right. When stepping towards a direction, unless directed otherwise, the fencer will avoid crossing the feet. For example, when taking a Curved Step to the right, the fencer will lead with the right foot. When taking a Curved Step to the left, the fencer will lead with the left foot. At the completion of the Curved Step, the fencer should be in profile facing the adversary.
Curved Step
IMPORTANT NOTE: There is a misconception that stepping along the circle does not close distance. This is demonstrably incorrect as shown with this simple triangle in green, purple and blue overlaid on the circle.
The blue line of the triangle demonstrates the Curved Step has gained measure. The blue line is clearly shorter than the Diameter.
If you step along the circle you should be aware that you have entered the adversary’s range. Walking along the circle without reason provides your adversary with one unit of fencing time with each step and I don’t recommend it.
A Curved Step along the circle is a common method of gaining ground gradually and is often used in response to an offensive action from the adversary.
For example, if the adversary executes a cut, we may intercept the attack with the blade and then step forward along the circle to deliver a riposte. Because the adversary has moved forward already, our step moves only slightly forward and takes us off the line. After we have delivered a riposte, we might back away safely past the Line of Infinity.
Transverse Step
(En español – Compas Transversal)
The Transverse Step is a type of angular advance either to the left or right along the square shown inside the circle. The Transverse starts with the lead foot and is followed by the rear foot. At the completion of the Transverse Step, the fencer should be in profile facing the adversary. When there is an exception to this, it is stated in the description of the step and may be called a Mixed Step (See below).
Transverse Step (angular advance)
The Transverse Step closes distance more aggressively than the Curved Step shown above and is typical of offensive actions or attacks into the adversary’s preparation.
Mixed Step
(En español – Compas Mixto)
A Mixed Step is a combination of two other types and are often angular retreats either to the left or right away from the circle.
Two common examples of Mixed Steps are Mixed Backwards and Lateral to the left or Mixed Backwards and Lateral to the right. In this case, the Mixed Step starts with the rear foot and is followed by the lead foot. At the completion of the Mixed Step, the fencer should be in profile facing the adversary.
Mixed Step Backward and Lateral (angular retreat)
Another common Mixed Step is the Transverse Step to the Left using the right foot, followed by a Curved Step with the left foot.
Mixed Step Transverse Left and and Curved Left (angular advance with passing step)
This image is my copy of a Circle from Ettenhard’s book in 1675 which describes the footwork.
1. The lead foot takes a Transverse step along the square pre-turning the lead foot to point back to the adversary. (The weight rests on the ball of the lead foot.)
2. Pivoting on the ball of the front foot, the rear foot moves in an arc landing on the adversary’s Line of Infinity.
3. The lead foot passes behind the left executing another pivot and placing the fencer in profile with respect to the adversary on his Line of Infinity.
Other Footwork
Other footwork is explicitly described in the text.
For example:
The Italian gaining step would be described as “bringing the rear foot forward close to the heel of the right foot.”
The Italian lunge would be described as “an extreme forward step of the lead foot while keeping the rear foot fixed.”
Opposition of Footwork
According to Ettenhard,
- The Forward Step is superior to the Backward Step
- The Forward Step is defeated by the Transverse, Curved, Lateral, and Mixed Backward and Lateral Steps. (Stepping off the Line of Direction will defeat an advancing opponent.)
- The Transverse and Curved Steps can be defeated with the Transverse and Curved Steps. (When an adversary circles toward you, either moving into them or circling away can defeat their action.)
Application to other Traditions
Again this material can be tradition agnostic. Using the Spanish Circle as a footwork map provides us with a useful guide for describing to a student how fast we want them to close measure. We can also advise the student to step inside the square or outside of it provide more nuance.
In addition, the Spanish codify angular and circular footwork which has been largely excluded from modern fencing traditions. As Ettenhard states, countering a circular step with a circular step is a good solution and we see this understanding in Destreza, Aikido, and many other martial arts.
Filed as Classical Fencing, Fencing, General, Historical Fencing, Italian Rapier with 5 replies
(6/3/2009)
This article is a fencing tip for amateur rapier fencers. In Italian rapier and classical fencing the arm is held straight from elbow to tip. Fabris favors an extended and straight arm, but he discusses the sword held at an angle as well.
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Those who hold the sword at an angle (with either the hand in third just above the knee or in second higher and outside the knee) do fortify their sword, but pay the price in giving the opponent much bigger openings and allowing him to come closer.
Fabris’ 1606 text as translated by Tom Leoni
And also this concerning the sword held at an angle:
It is much better to hold the arm withdrawn and the sword straight so as to form a direct line between the elbow and the point.
Fabris’ 1606 text as translated by Tom Leoni
Compare that to this 1997 classical Italian text:
In the completed guard the weight of the body should be distributed equally between the legs, with the torso profiled, and inclining slightly forward, head up and turned to the right, eyes on the adversary, shoulders down, right arm well extended and relaxed, elbow in line with the flank, hand in central position on the line of offense, midway between invitations in third and fourth, and forearm and weapon forming an unbroken line.
Gaugler’s Science of Fencing
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From these two quotes we can see that the Italians are wary of extending a bent wrist forward. A sword that is extended in a straight line from elbow to tip protects the hand behind the guard.
Kevins straight wrist protects his wrist and arm behind the guard.
From the front, the opponent’s perspective is more obvious. (Notice below that the swept hilt protects not only the hand but the entire forearm as well.)
By keeping his arm straight from elbow to tip, Kevin protects his wrist and arm.
Most amateur fencers don’t realize this target is exposed and they open a line to an easy attack that I call Uncle Puck’s Doorway. On a swept hilt rapier there is a V-shaped notch where the rings meet the sweeps and the superior half of the cross.
Kevin grips the sword at an angle with a bent wrist showing Uncle Puck's Doorway.
When this angle exists in the wrist, it creates a nice landing pad for an attack to the top of the arm. The bend in the wrist acts as the perfect backstop for the attack.
Kevin's bent wrist shows the open door and the angle creates a nice backstop for the attack.
An adversary who holds a sword extended and forward with an angle in the wrist is the gift that keeps on giving. If you are an SCA fencer and you are aware of this line of attack, you can be very effective in tournaments and group combat because newer SCA fencers often make this mistake.
Filed as Classical Fencing, Fencing, General, Historical Fencing, Italian Rapier with 5 replies
2/6/2009
**Phone rings**
Technician: This is Capoferro Tech Support, can I help you?
Caller: Yes, I am currently in a duel and I would like some help.
Technician: Can I get some information about your opponent?
Caller: Sure. He has a sword.
Technician: Can you tell me anything else?
Caller: He’s got black hair and brown eyes.
Technician: [audible sigh]... Can you tell me if he is skilled, unskilled, or bestial?
Caller: How can you tell?
Technician: A bestial fencer will throw many blows with great impetus and has no understanding of tempo or measure.
Caller: I don’t think that’s him; he’s just standing there.
Technician: Does he have his sword out?
Caller: Yes and it is pointed at me.
Technician: Are you within his measure?
Caller: I don’t know.
Technician: Can he currently strike you with a lunge?
Caller: Yes, he’s already hit me twice… I’m bleeding a bit from the shoulder. That’s why I called you.
Technician: You should have told me that first. I need you to immediately retreat out of distance.
Caller: Ok… I have retreated… He seems to have relaxed a bit.
Technician: That’s good. I need to know if your opponent is clever.
Caller: **Loudly aside** Hey, are you clever or what? **Into the phone** He says he isn’t clever.
Technician: I want you to assume the guard and cover the inside line with your blade. Turn your point towards his forward shoulder aligning your edge so that you cover his blade with your strong against his weak.
Caller: Ok… this seems to be working. I think he might be impressed or something. He might even be afraid. I love fencing!
Technician: Now, he should execute a cavazione and try to strike you on the outside high line. Be ready to counterattack by rolling your hand into secunda, closing the line and counterthrusting. Are you ready?
Caller: Ok.
Technician: I want you to gradually move forward with tiny steps directly towards him.
Caller: Ok… I’m taking tiny steps… He hasn’t done anything yet. I think it may be working. Oh oh… he attacked the outside just like you said!! I’m counterattacking!! Ahhhh Ahh ohhh ohhh!! He feinted!! He feinted!! He parried my counterattack!! I’m bleeding again!! Yes.. I’m definitely bleeding!! I hate fencing!! I hate it!!
Technician: Calm down. Calm down! I need you to listen to me. I need you to retreat out of distance again.
Caller: Ok… Ok… I’m retreating. He relaxed again. What would happen if I rushed him? Would that work?
Technician: It would probably work for him.
Caller: What does that mean?
Technician: Don’t worry about it. Here’s what you need to do.
Caller: Ok, I’m ready.
Technician: Are you out of distance?
Caller: Yes.
Technician: Can you see the adversary?
Caller: Yes.
Technician: When you are ready, I want you to repeat after me. Are you ready?
Caller: Yes.
Technician: “I want to sincerely apologize for having offended you.”
Caller: **Loudly aside** I want to sincerely apologize for having offended you.
Technician: Now put your sword away and see if he lets you leave.
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For the record, covering the inside line and counterattacking the cavazione in 2nd is Plate 7. I’ll leave it to you guys to figure out what the clever fencer’s response was.
Filed as Classical Fencing, Fencing, General with 6 replies
12/16/2008
The final exam given by the Fencing Master’s Program at San Jose State University on December 13, 2008 and it ended a 30 year tradition of fencing education. I was part of that program and took my Master’s examination that day. I had flown in from Spain 6 weeks earlier and trained almost non-stop to prepare. It was the culmination of over 16 years of fencing and 4 and half years of pedagogy training under Maestro Sullins, Maestro Sahm, and Maestra Sahm.
(All photos shown here are courtesy of Steven Flaugher.)
THE ORALS
The Oral Examination - (left to right) Maestro Ralph Sahm, Maestro John Sullins, Maestro Sean Hayes, Maestro Paul Scherman, Maestra Janine Sahm, Provost Puck Curtis, Candidate Sydney Thomson, Candidate David Coblentz, Candidate David Cogley, Instructor David Borland, Provost Eric Myers.
Any thought that your own maestri might show favortism in the orals is quickly dismissed as the ones who spend the most time with you grill you mercilessly. These are the maestri that are most invested in your success and the ones who will be most unforgiving of your flaws. The orals covered all three weapons (foil, sabre, epee) in detail.
THE GROUP LESSON
The Group Lesson - Instructing are Provost Eric Myers, Instructor Jeremy Tavan, and Instructor David Borland. Taking are Provost Daniel Williams, Provost Gary Murray, and Instructor Tony Barajas. (In the background is Instructor William Byrne.)
The Group Lesson is intended to judge your ability to control a larger lesson. You divide your eyes between 3 students and are expected to provide feedback to both the students and the instructors. In the action above the attack is directed to the crook of the arm which is a legal target in epee.
TEACHING LESSONS
Puck teaching Epee for the Board
Here I am teaching before the board to my good friend Eric Myers. For the record, I’m inviting in third which is why my point is high and to my right. The Italian tradition uses the left hand as a visual queue for the lunge. Eric and I informally call it the “traffic cop hand”. The palm says “wait”. When I turn my hand and beckon forward, I’ll bark out the command “Via!” at the same time to draw the lunge from the student. When I want the hit to land, I’ll bark “Hup!”
The Amazing Lunge of Provost Eric Myers. (In the background is Instructor Jeremy Tavan, Instructor Kevin Murakoshi, Provost Daniel Williams, and Provost Gary Murray.)
Here I have called out Eric’s lunge to the crook of my arm. When I want him to recover, I will rotate my hand and make a pushing motion. For anyone interested, “Via!” means “Go!” In Italian.
The Handshake of Friends after a Great Journey
We’ve been training together for almost 5 years to reach this moment. Not all of those times were fun and easy, but the friendship sustained us through the tough times. The looks on our faces says it all. Eric is a gentleman, a scholar, and, of course, a swordsman.
TAKING LESSONS
Eric calls out Puck's Lunge in the Sabre Lesson
In addition to teaching, I also had to demonstrate my form taking lessons. Here I am taking a lesson from Provost Myers. For those keeping score, there are 6 elements to the exam: The written, the orals, the group lesson, give lessons, take lessons, and the dreaded random actions. Random actions are actions chosen by the maestri at random that the candidate is required to teach the student. A master’s candidate is expected to be able to do all of these with all 3 weapons and our exam was a bit over 9 hours. In the later photos you can see that the sun has set.
RANDOM ACTIONS
The Powerful Expulsion of Provost Murray
Provost Gary Murray passed his Master’s exam many years ago under Maestro William Gaugler but he has withheld his thesis all this time. Instead, he has dutifully served as the program’s senior Provost for years. His form is almost perfect and his ability to teach is matched only by his personal grace and patience with the people under his care. For each exam, he volunteered to act as the student during the difficult random actions and when he found out the program was closing it’s doors at San Jose and moving to another university, he assured us that he would wait to turn in his thesis until the exam was complete.
For the fencing nerds out there, this action was:
In time, from the student’s invitation in third, grazing beat in 4th with a ballestra and direct cut to the flank. The instructor will parry in second and riposte by glide to the flank. The student will execute a ceding parry of fourth with an expulsion in fourth and riposte by direct cut to the outside cheek.
Maestro Sullins asked me to defeat my student’s expulsion with a disengagement in time, which was a trick question. Fortunately, I told him this was impossible but was able to perform a disengagement in time on the student’s earlier beat. As I said earlier, one’s own maestri will test you the hardest.
THE CODA
After my random actions, Eric was the final candidate left to finish.
Final Action of the Day - The Coda
Eric’s action was a dizzying series that started with a blade seizure in 3rd and deceive to the crook of the arm followed by a series of additional hits changing distance and targets, followed by a reassemblement to the crook of the arm, a simple parry of second, double circular parry of second, simple third, double circular parry of third, change of engagement to fourth with a riposte by flanconade in fourth which he parried with a ceding parry of fourth to trigger a second intention indirect (in fourth) to the crook of the arm. You see the final attack landing above.
It looks like any other lunge but it’s not. It’s the final action of the day, but it is also the last action in the last exam of the program. In music, the final phrase is called the “Coda” and this was the coda to Maestro Gaugler’s program at San Jose State University. The Maestri applauded and the candidates sighed and Eric and Gary saluted. That was the end of it and this final fencing action was the bittersweet coda.
As the program looks for a new home, I’ll keep the blog updated.
THE GRADUATES AND THE BOARD
Because of the terrible manner in which the program was canceled by the university, the requirement for a thesis was waived. In addition candidates who passed their exam under maestro Gaugler but never turned in a thesis were awarded their certificates which were held in trust pending the completion of a thesis. Earlier in the blog, I referred to candidates by their current title. In the picture below, I have added the new titles.
Winter 2008 Diploma Recipients - (left to right) Maestro Greg Hicks, Maestro Gary Murray, Maestro Puck Curtis, Instructor Ricardo Vargas, Instructor David Coblentz, Instructor Sydney Thomson, Maestro Eric Myers, Provost Tony Barajas, Provost Kevin Murakoshi, Provost Jeremy Tavan, Maestro Daniel Williams, Provost William Byrne, Provost David Borland, Instructor David Cogley
The Candidates and the Board - (left to right) Maestro Puck Curtis, Maestro Greg Hicks, Maestro Gary Murray, Instructor David Coblentz, Instructor Ricardo Vargas, Maestro Sean Hayes, Instructor Sydney Thomson, Maestro John Sullins, Maestro Eric Myers, Maestro Ralph Sahm, Provost William Byrne, Provost Kevin Murakoshi, Maestra Janine Sahm, Provost Jeremy Tavan, Maestro Paul Scherman, Maestro Daniel Williams, Provost David Borland, Instructor David Cogley, Provost Tony Barajas.
Much thanks to all my fencing masters and of course to maestro Gaugler who founded the program.
~P.
Filed as Classical Fencing, Fencing, General with 2 replies
12/15/2008
Saturday evening, I completed the requirements for the classical Italian fencing masters degree. In consideration of the circumstances of the closing of the program at SJSU, the maestri waived the requirement for the thesis and conferred the certification of Master at Arms that night. (This is a bit ironic since I already have 50+ pages written for the thesis, but I was encouraged to complete the work on my own initiative and I’ll follow through with that.)
It’s been a lot of work and I want to thank all of you for helping me learn to fence and teach. While it might seem that this is an ending, it is in fact the beginning of my real work and I’m very aware that I am the junior maestro in a family of talented and experienced fencing masters.
Thanks again for all your support and assistance,
P.
