KEY SKILLS IN BLADE FENCING

Blade work allows a fencer to misled his opponent and reach the target area
despite attempts of the opponent to defend themselves. This is probably the most
difficult of the crucial skills of fencing to master. The fencer needs to be strong but
also needs coordination and agility to be able to execute parries against their
opponent but also move quickly around parries attempted on them.

Footwork this allows the fencer to move into appropriate positions and distances to
utilize blade work but to quickly get away from an opponent's attack. This is the
cardio vascular component to the training and it is the most physically demanding of
the skills.

Tactics fall under the mental component of the training. This is the hardest skill for
the fencer to learn and it something that they will focus on throughout their
competitive career. Tactics are the strategies and tactics used by fencers to beat
their opponent by coordinating blade work and foot work.

Essentials of Fencing Technique

Richard Howard
What follows is a brief discussion of techniques and technical
applications that are considered after some forty years plus of
coaching by the writer to be essential to successful fencing. They are
broken down into five major categories: Mental Preparation, Physical
Preparation, Technical Actions, Tactical Actions, and Terminology.
Special emphasis is placed upon the technical aspects of fencing
because these have become neglected in recent years in favor of
tactics. The technical lesson is almost becoming a lost art which is
especially tragic as many top level coaches do not teach
stressing techniques. The reason being in a significant number of
instances they themselves were never taught the basics. This is of
course not to say that tactics are not important, they are of great
importance. It is just that coupled together the two make a dynamic
and complete fencer. The two facets of the art go hand in hand.
It should be understood that this writing is intended for those
already familiar with basic concepts of fencing and as a result does not
dwell on lengthy descriptions of already understood terminology.
Rather this presentation is simply an outline of what the writer
considers the absolute basic information that helps to create a
competent fencer. Hopefully it will give both coaches and fencers some
useful direction and insights. Also in fencing as in any complex activity
there are many differing opinions. This presentation is in no way
intended to challenge anyones expertise or perspective takes on the
subject or their individual teaching or teaching styles. It is instead
honestly proffered with the intention of being helpful.

Mental Preparation:

Mental preparation includes the developing of reasoning skills

such as logic, strategy, tactics, and self control. It is sometimes
asserted that a fencers tactical preparation is the most important part
of his development as a competitive athlete. Certainly technique is of
little value with out a competent application of tactical skills, but the
reverse is also just as true. With out technique tactical skills have little
valve. The two disciplines compliment each other and do not stand
independent. Fencing tactics are the proper application of fencing
techniques with precision to score touches and not be scored against.
Fencing techniques are the physical actions of fencing which include
footwork and blade work coupled with a sense of distance and timing.
With regard to technique numerous coaches stress the idea of
mastery of a few techniques and relying on those rather than having a
mastery of numerous actions. Although many feel that this is a well
supported idea, in the opinion of the writer, versatility greatly enhances
tactical application and greatly improves a fencers chances for
success. To confront an opponent with a wide range of successful
techniques creates an aura of mystery which can serve to confound his
confidence. Being able to control or at least influence the confidence of
an opponent is the mark of a fencing champion.
Proper technique is not to have simply mastered through drills
the various repertory of the sword. Rather it is the correct application of
the repertory with reference to timing and distance while consistently
introducing variety to footwork and blade work actions and responses.

The real mark of a champions skills is flexibility of actions while

maintaining a cool head and having an instinctive understanding of his
opponents potential actions and responses. All of which comes about
through dedicated training and practice not just in the physicality of
fencing itself but also learning from by observing an opponent. This
observation is not just on the basis of their respective skills but also
through developing an idea of the opponents personality type.
Numerous studies have been done on athlete personality types and
they are well worth more than a cursory look. Such an understanding
allows a fencer not only to understand others but also to have an
appreciation of himself with regard to personal strengths and
weaknesses.
Most fencers fall into one of a series of personality types: Active
Fencers, Passive Fencers, Cautious Fencers, Risk-Taking Fencers,
Offensive Fencers, and Defensive Fencers. These personality types
are based upon personality dynamics such as: Extrovert, Introvert,
Emotional Stability, and Basic Temperament. It should be noted
however that these are broad categories and in actual practice most
personalities exhibit combinations of these traits. To have an
understanding of these types makes it possible to develop an applied
sense of timing that can be used to successfully exploit an opponents
weaknesses.
Motivation is also an important aspect of mental preparation.
Motivation is the drive associated with personal values and needs that
stimulate an individual to specific sets of activities to achieve a goal or
sets of goals. Positive motivation is based upon a desirable or positive
reward compensation. Negative motivation is punitively based and has
no value in the realm of achievement in athletic endeavor.
Realistic goal setting is an excellent reinforcement mechanism to
assist in the motivation of athletes. During both practice and actual
tournament participation goals both short and long term should be in
place for each athlete. Coaches should help each fencer in the goal
setting process so that goals are both realistic and approachable.
Also a thorough understanding of the concept of the Tactical
Wheel as applied to both practice and competitive bouts a fencer can
develop a sense of logical organization to his actions on the fencing
strip. Both a long and short version of the principles of the Tactical
Wheel are commonly available through the United States Fencing
Association Coaches College and the United States Fencing Coaches
Association.
Participation in logic based gaming through chess and other
related tactical based interactive games may also have a profound
effect on fencers.

Physical Preparation:

Physical preparation includes participation in aerobic, physical

strength enhancing, and stamina promoting activities such as baseball,
bicycling, racket ball, swimming, tennis, moderate weight room
training, and volleyball; all being used as a background physical
enhancement to fencing. On simply a physical basis emphasis should
be placed on activities that stress not only physical development but
also good hand-eye coordination. Such activities should be especially
engaged in during off season periods. During the off season it is
especially important to maintain a quality level of physical activity just
as during the peak season of both practice and tournaments. As far as
overall aerobic physical development the writer recommends
swimming and as far as hand-eye coordination is concerned racket ball
is among the best.
Fencers need to consistently maintain fighting form and a constant
state of competitive readiness so that any given time they can perform
at a maximum competency level.
There are essentially three stages in seasonal physical
preparation for any athlete: pre-season, competition season, and off
season periods. During each of these there are specific sets of
activities that serve to physically condition the fencer.
Although most of these activities can be considered to be purely
physical they are in fact motivationally and emotionally driven. To
physically develop properly an athlete has to be considered by himself
and those around him holistically as an emotional, spiritual, and
physical being.
Pre-season activities should be selected and put in place to
increase fitness abilities such as: speed, strength, over all endurance,
flexibilityagility, and power. Individual athletes should be encouraged
to select specific physical activities that they individually enjoy from a
list of non-fencing coach approved sports. In other words the workouts
should be enjoyable for the individual athlete rather than a chore. It
should also include review and further perfecting of basic physical
fencing technique including both footwork and blade work. Also
practical application of fencing actions as they apply to strategy and
tactics should be a focus. Individual lessons should not exceed thirty
minutes at a time and should always begin slowly and progressively
gain combat speed. In the writers opinion the physical activities should
be on a daily basis and individual fencing lessons and bouting should
be at a minimum of three times a week.
During competition season physical activities should include non-
fencing physical workouts but be centered on fencing including
lessons, practice bouts, and tournament participation. Levels of
tournaments and expectations for outcome should be determined in
planning and goal setting sessions between individual athletes and
coaches and should be reasonable with relation to individual levels and
technical capabilities. These goals are always on an individual basis
and not set in place to blanket the team as a whole.

Terminology:

Rather than being presented in the form of an alphabetical list

essential terminology is included in the text itself. The terminology
associated with the technical aspects of fencing being discussed is
only an abbreviated presentation of terms from the existing literature
and is a small percentage of that which is taught by the writer to his
students. Exhaustive lists of terminology appear in all the body of
fencing literature and can often be confusing and sometimes conflicting
as many terms have variant meanings from language to language.
Even within the various nations that have had a profound influence
(France, Germany, Hungary, Italy, Russia, and Spain) on the
development of the art there are variant opinions from one Fencing
Master to another.
With each school and system there were and still are many
different sometimes heavily argued and varied viewpoints. The writer
would encourage the reader to take some time with the major literature
commonly available and experience these variations for himself.
Currently lists of standardized terminology are easily available from the
United States Fencing Association (USFA) and the United States
Fencing Coaches Association (USFCA).

Technical Preparation:

Technical preparation includes but is not restricted to: Footwork

and Blade Work. Both of these serve what can be called the
fundamental fencing actions: Attack, Parry, Riposte, Parry, Counter
Riposte, Counterattack, and Countertime.
In actuality it should also include a study of the history of
currently used competitive weapons; their grips, blades, and armory
maintenance skills. Every competition fencer should at least be able to
dismantle and clean a weapon and also rewire one as well.

Before we can examine footwork and blade work it is necessary

to discuss in brief seven fundamental fencing actions.

1. Attack (coup French, attaque Italian) which can be

generally defined as the initial offensive action made by extending the
sword arm and weapon while continuously threatening the valid target
of the opponent. Although this is the definition present in most of the
rule books it has, in the opinion of the writer, been incorrectly
expanded to include actions that if executed within advance-lunge
distance can strike the target regardless of the initial position of the
point or weapon arm, if the attacking action can strike the target in one
tempo. An example is the flick attack. Attacks can be either simple (one
move) actions or composed (multiple move) actions. All four prise de
fer and attack au fer blade actions can effectively be used as
attacking actions as well as preparatory actions.

2. Parry (parade French, parata - Italian) which can be defined

as a block of the attack, made with the forte of one's own blade.
Simple Parries are affected in one tempo and terminate the
action of the offending blade in the line for which they are named. Of
this type there are essentially opposition parries that deviate the
offensive blade by opposition alone, blocking parries which simple
meet the in coming offensive blade and in so doing halt its progress,
and beating parries which literally beat the offending steel knocking it
out of its intended line to the target.
Lateral Parries move in a straight line as from six to four or the
reverse.
Semicircular parries describe and arc with the tip of the
defending blade as it passes from one line to another.
Counterparries (contre parry French, circolazione Italian)
describe a circle with the tip of the defending blade.
Ceding Parries or non-resisting parries yield to the force of in
coming offensive steel instead of resisting it.
It is popular today to call any parry that moves an offending blade
from one line to another a transfer parry.
All four prise de fer and attack au fer blade actions can
effectively be used as parrying actions.
Also parry riposte actions can either be parry-riposte Single Time
(stesso Tempo Italian) which means that the actions are together
and not separated, or they can be parry-and-repost Double Time (Dui
Tempi Italian) which means that the actions are separated.

3. Riposte which is an offensive action (counterattack) made

immediately after a parry of the opponent's attack. Ripostes can be
either direct or indirect. An example of a direct riposte is a riposte by
coule. An example of an indirect riposte is a riposte by coupe.
 4. Parry of a riposte which is the parrying of an incoming riposte
counterattack.

5. Counter Riposte which is an attack that follows a parry of the

opponent's riposte.

6. Counterattack which is an offensive action made against the

right-of-way, or in response to the opponent's attack. In short it is an
attack into an attack.

7. Countertime which is an attack that responds to the

opponent's counter-attack, typically a riposte following the parry of the
counter-attack or in other words an attack into a counterattack. Some
writers consider second intention actions as countertime.

Essential Footwork:

To start with it must be recognized that all fencing footwork must

be routinely drilled so that it becomes second nature, fluid, and
graceful. Improper footwork makes a fencers actions jerky and out of
proper physical balance. In all aspects of footwork acceleration relative
to tempo and cadence is critical. Tempo being the time it takes to
complete one fencing action and cadence being the rhythm the tempo
is broken down into. For example each tempo has at least an opening
and closing action or rhythm. In the past fencing masters considered
as many as four cadences for each tempo. That was of course
possible because of the weight and length of the weapons of the day.
With regard to acceleration it is advisable to set up a series of
advances with variance of length of stride and most importantly speed
of steps. Of course this all depends upon the Fencing Distance
(measure - French) between the two opposing fencers. A good
example would be a slightly short slow first step immediately followed
by a medium or long fast second step leading into an attack. This
change of speed impacts directly on the opponents ability to respond
effectively to the advance and/or attack. In relation to blade work an
example would be starting a thrust slowly and finishing fast.

1. Footwork must start with a proper fencing stance beginning

with the correct execution of the On Guard Position (en garde
French, guardia - Italian) as it applies to each of the three weapons.
In foil the writer prefers a center of balance that places the body
weight evenly over both feet. Classically the feet are at right angles to
each other. In modern fencing however it is better to have the back toe
positioned such that it is slightly turned forward. This is more
comfortable and allows for more even and rapid forward and backward
steps with the advance and retreat. It also places less stress on the
knees and ankles.

In epee the same is true except that the stance should be more
upright with less bend to the knees. In so doing the fencer offers less
immediate target to his opponent.
In sabre the stance the author recommends is much like that in
foil except that the body weight is slightly (not totally) shifted to the
back foot which allows for a more rapid advance.
With regard to the On Guard position in all three weapons, the
writer recommends that the back foot be slightly elevated as having the
heel slightly raised and body weight being carried on the ball of the foot
rather than the foot being completely flat on the strip.

2. Footwork also includes the simple advance and retreat. On the

advance (marcher French, passo avanti Italian ) the front foot leads
followed by the back foot. On the retreat (rompre French, passo
indietro Italian) the back foot leads followed by the front foot.
The spacing between the feet established in the on guard position is to
be maintained as advances and retreats are executed and completed.
That spacing should not exceed shoulder width and not be less than
the length of the fencers foot. In advancing and retreating the
beginning distance between feet should at least approximate foot
spacing upon completion.
Also in the past classically there were four tempos to each
advance and retreat. Advances were executed heel toe, toe - heel.
Retreats were executed toe heel, toe heel. There were four distinct
sounds on the Fencing Strip (piste French). Today it is to the
advantage of the fencer to reduce this to two tempos. The front foot is
advanced landing on the heel being followed by the back foot landing
for the most part flat (or on the ball of the foot) as the toe of the front
foot lowers and touches the fencing strip. Classically this foot action
generally preceded a lunging attack and was called the Step Lunge
(pattinado Italian).
As much as possible the fencer should have most of his body
weight situated on the balls of the feet rather than other wise as this
allows for immediate rapid motion and less resistance between feet
and fencing strip. This is to be considered as an average as different
actions will automatically dictate differences in foot position.
 3. The advance and retreat also include the crossover forward
(passe avant French) and crossover backward (passe arriere
French). In the crossover forward the rear foot is brought in front of the
leading foot by shifting weight and balance and then what was the
leading foot moves forward and reestablishes its original placement in
front. In the crossover backward the leading foot passes behind the
back foot by shifting weight and balance and then the back foot moves
back and reestablishes its original position. During both of these
moves it should be stressed that a proper center of balance be
maintained in order to present proper body and blade position allowing
for proper offensive, defensive, and counteroffensive actions.

4. The Check Step or Check is an effective way to confuse the

tactical thinking of an opponent. Essentially there are two check steps:
On the advance check step the fencer takes a half step forward
moving only the front foot, visibly indicating an advance then quickly
takes a full step back. The retreat check step is just the opposite. On
the retreat check step the rear foot takes a half step backward while
not moving the front foot, visibly indicating a retreat then quickly
changing direction with a full step forward. A few other foot movement
applications have been taught with regard to the action. Mostly they
are gliding foot actions applied to the same set of motions making the
Check more fluid and quicker. They all result in the same thing a
deceptive cadence or rhythm.

5. Gaining on the Lunge (raddoppio Italian) is another essential

footwork. Often the term is applied in the old Italian fashion taken as to
mean a string of lunges. More correctly however it refers to setting up
a lunge by deceptively gaining ground before actually executing the
lunge. In this the back foot is carefully brought up to and touches the
front foot with out the opponent noticing the action, then a full lunge
follows. This usually gains at least two to three feet on the reach of the
lunge. Generally it is a highly effective deceptive move because it
abruptly changes both tempo and cadence.

6. Another essential foot action is the Front Foot Withdrawal or

Reassemblement (rassemblement French). Generally the front foot
withdrawal is characterized as being a short retreat. It is executed by
moving the front foot back until it touches the back foot. This is
generally followed by a Reverse Lunge (echappement - French). It is
an excellent set up for a Continuation of the Attack (remise French).
Depending on the fencers intention it is advisable to extend the sword
arm and weapon challenging the opponents target during the front foot
withdrawal.

7. The Jump Lunge (ballestra - Italian) although not as frequently

used as it should be is also an essential footwork. The fundamental
focus of the jump lunge must be forward acceleration rather than
elevation. The higher the jump places both of the fencers feet off the
strip too long. When the fencer is in the air he directly open to attack or
counterattack without the ability to conduct an effective defensive
action. The main force of the forward momentum is generated by the
front foot with a forward kicking action. It should also be noted that the
jump lunge is taught today as a connected compound action, it is really
two separate actions. Those are: the jump followed by the lunge. The
jump lunge if properly executed is both an effective and mentally
disruptive way for an attacker to quickly close distance.

8. The Jump Backward (salto indietro - Italian) is really a reverse

jump lunge with the main force of the backward momentum being
generated by the back foot with a backward kicking action. It is an
excellent way to quickly open distance evading a thrust or lunge.

9. The Lunge (fente French, botta lunga - Italian) although

today considered a basic fundamental footwork, was when first
introduced slow to catch on. It is well known the Ridolfo Capo Ferro
was the first to illustrate the lunge only to be followed later by Nicoletto
Gigante giving written description of the action. If at proper distance
(different for different fencers) the lunge is the quickest and most
effective direct attack mechanism available to the fencer.
The mechanical action of the lunge lends itself to several
variations: The first is of course the simple lunge which the writer
teaches to beginners as a three cadence series.

First the thrust is executed (a direct extension of the sword carried by

the sword arm in a direct line to the opponents target). Second the
front foot lifts slightly from the fencing strip and shaving it lightly with a
strong kick forward as the back leg acting as a piston thrusts the body
forward and locks straight resting the back foot slightly on the edge of
the sole of the shoe. The kicking action of the front foot acts a weight
redistribution forward and the pushing action of the back leg provides
most of the physical strength. It must be noted here that this does not
imply or accept the back foot landing on the ankle. Third the non-sword
hand is thrown back coming to rest parallel to (but not resting on) the
back leg as a counter balance to the forward momentum of the body
as a whole.
This simple lunge has two significant variations which are: the
assisted lunge and the breaking lunge. In the assisted lunge the
front foot lands directly on the heel and then lowers the remainder of
the foot to the fencing strip. Using this as leverage the lunge is
effectively drawn forward by three to four inches which is very useful if
the lunge lands the blade of the offensive weapon just short of the
target. In the breaking lunge the front foot lands flat effectively
shortening the reach of the lunge by a few inches. The breaking lunge
is useful against an opponent who unexpectedly closes distance during
an oncoming attack. Another lunge variation is the flying lunge in which
the forward momentum of the piston action of the back leg is increased
causing the fencer to slide or fly forward on the fencing strip.
Depending on the stroke power of the back leg piston this may
be as much as three feet which greatly extends the striking range of
the offensive fencer. The lunge-in-place or drop-lunge is another.
Simply put the lunging fencer simply drops in place into the lunge
position. This effects not only a short lunge but also a body
displacement. Again the given combat situation dictates the action.
Another effective lunge not used nearly as much as it should be is the
reverse lunge. The reverse lunge (ecahppement French, Botta lunga
indietro Italian) is often preceded by a front foot withdrawal. In this
application after the thrust the front foot remains in place and the rear
leg slides back until the body rests in the finished lunge position.
Other lunge applications include: Advance Lunge, Retreat Lunge,
Front Foot Withdrawal Lunge, Advance Crossover Lunge, Retreat
Crossover Lunge, Advance Check Step Lunge, and Retreat Check
Step Lunge.

10. Also essential to modern footwork is the Flash Attack (fleche

French, frecciata Italian) as created by Italo Santelli and Laszlo
Borsody in Hungary at the beginning of the 20th Century. The word
literally means arrow or flight of the arrow. A number of different
variations on fleche technique have been implemented and most have
validity. These also slightly vary depending upon whether the flash
attack fencer is right handed or left handed. In the writers opinion the
flash attack is best executed by: executing a thrust by extending the
sword arm and weapon challenging the opponents line of target while
at the same time swinging the back leg around the front leg. As this is
being done the weight of the body (leading with the head) is thrown off
balance forward. The back leg continues until it is well in front of the
front leg. As it comes down on the piste the offending blade strikes the
opponents target. The attacking fencer then continues in his forward
action by passing the defending fencer on his inside line. A right
handed attacker will pass the opponent on his; the attackers right side
which is the opponents left side.
As the offending blade reaches the opponent it is most effectively
delivered by a slight Angulation or Caver (coup cave French,
angolazione Italian) of the wrist. A noted variation of this is one in
which the offending blade reaches its target before the back foot
comes down on the fencing strip. Both techniques work and have their
pros and cons. The flash attack can be used in absence of blade or
involving any of the four Takes of the Iron or the four Attacks of the
Iron. It can also be used following an advance, retreat, jump lunge,
front leg withdrawal, lunge, reverse lunge, crossover forward,
crossover backward, check forward or check backward. In all instances
it is most effective if unexpected and follows a dramatic change in
tempo or cadence.
As a final note footwork should always be coordinated with blade
work. In the simplest form there should be one blade action for each
footwork action (even if the only thing being accomplished is a simple
presentation of a blade) On a higher level two or even three blade
actions coordinate per one foot action. These are the standard
applications, but it can also work the other way in that there may be
multiple footwork actions per a single blade action. These higher order
footwork-blade work actions have to be taught slowly and then when
perfected brought up to fencing speed. Without such coordination there
can be no true success in the fencing experience.

Blade Work:

Blade work can best defined as actions of the weapons blade

generated through the grip of the weapon as influenced by the fingers,
wrist, arm, and body. It is essential to remember that the weapon is
delivered to and withdrawn from the target with but few exceptions by
the feet. The fencers grasp on the weapon grip is dictated by two
major considerations:
First is the type of grip employed French, Italian, or Orthopedic.
Second is national style as personalized by the individual fencer.
The French system employs extensive finger involvement based
upon the index finger and thumb of the sword hand (manipulators)
further balancing the handle with the remaining fingers (aids).
Depending upon the size of the flat part of the sword blade near the
handle (ricasso Italian) in question the Italian system uses either the
index finger and thumb or the index finger, middle finger, and thumb
with less influence of the aids. The handle near the pommel is also
strapped to the wrist by a martingale which for the most part
immobilizes the fingers, hand, and wrist making most of the blade
action come from the elbow. This generates a lot of power which most
often is accentuated by a preparatory foot action. In the case of
orthopedic grips there are several standard types with numerous
variations. What is interesting about the orthopedic grips is that they
allow for a composite use of fingers wrist and elbow which really is
almost an evolutionary merging of the classic French and Italian
systems.
Classically hand positions while gripping the weapon are either
prone, supine, or neutral (the hand opening to the fencers inside line
as in position four). In modern fencing many coaches prefer and teach
the neutral position as superior because there is a fraction of a second
lost in adjusting the hand from prone or supine. The writer favors this
although he still teaches the prone and supine positions as part of
standard training.

1. The first of the essential blade work actions is the Straight

Thrust (coup droit French, botta dritta - Italian) which is really the
precursor to all other blade actions. Essentially the thrust is the
offensive presentation of the weapon directed toward the target of the
opponent using only the extension of the arm as the delivery system.
To be effective it has to be within striking or touch range. In short the
thrust, by its self, is a close or infighting action and in reality precedes
all actions which threaten an opponent with an incoming blade. As has
already been discussed it precedes the lunge. Depending upon
proximity to the opponent the thrust may involve a fully extended
weapon arm or one with various degrees of bend in the elbow as the
given combat situation dictates.

2. The second essential blade action is really a composite. It is

the four Takes of the Iron (prise de fer French, presa di ferro
Italian).
Of these the first is the Bind (liement French, riporto Italian).
The four principle binds are six, four, seven, and eight. Binds however
can just effectively be taken from two, three, five, and to a lesser
degree one. Today binds are most often spoken of in terms of being
semi-circular diagonal transfers.
Number two is the Cross (croise - French). This is actually a
mini-bind usually taken from six moving the blade down to eight. This is
the general method taught today but in the past the action could move
either down or up and also from four to eight and the reverse. Most
effectively it has the most controlling power from six to eight. In modern
terms it is most often called a vertical semi-circular transfer.
Third is the Envelopment (envelopment French). The action
moves the tip of the offending blade around the opponents bell guard
in a small circle at the same time enveloping or trapping the opponents
blade. Ideally the motion should be very small and be very tight, the tip
of the offending blade beginning the move at the top of the opponents
bell and finishing in the same position. The four major envelopments
are six, four, seven, and eight. Of course they can also be taken from
two, three, five, and to a lesser degree from one. The action is either
clockwise or counterclockwise depending upon the relative position
presented by the opponents blade. The guiding factor is to use the
envelopment to sweep the opponents blade away your most direct
target line. (Most envelopments in six for a right handed fencer are
clockwise against another right handed fencer. An example is an
envelopment six used to counter a blade in four. Envelopments today
are commonly called circular transfers. A common usage is to refer to
the envelopment six as the circle six, the envelopment in four as circle
four, etc.
The fourth is the Opposition (opposizione Italian). As the
name implies the blade is used to oppose or shove aside the
opponents blade. Again the most common oppositions are six, four,
seven, and eight. Oppositions in two, three, five and one are also
used. It is very important to note here that each of these four takings
of the iron can be used offensively, defensively, and counteroffensively.
To defend , attack, or counterattack with them can be devastatingly
effective.

3. The third essential blade action is also a composite. It is the

four Attacks of the Iron (attack au fer French).
The first of the four is the Beat (battement French, battuta -
Italian). It means literally to beat or strike the opponents blade. The
action can either be used as a distraction or as a precursor to another
move.
Beats to be effective should be taken with either the strong part (forte -
French) of the blade or the center of percussion which is the center of
the blade. The idea of using the center comes from the fact that it is at
that point that maximum strength can be arrived at due to the physical
mass of the blade coupling with the maximum inertia generated from
the arc of the swing itself. Beats can be taken in combination from any
of the eight positions as dictated from the general position and
distance of the delivering fencer. The classic example of course is six
to four or four to six. The strongest beats are from six to four and from
six to seven.
The second of the four is the Expulsion (Froissement French,
sforzo - Italian). The easiest expulsion to define and execute is from
four. The strong of the offending blade lies across the weak (foible) of
the opponents blade on the inside line and suddenly with strong
straight downward forced snapping gliding motion moves from four to
seven. The action is executed so strongly and quickly that it actually
wrenches the opponents wrist and can facilitate a disarm. There are
two main variations: one in which the opponents blade is forced down
and the other that the opponents blade is forced strongly to his inside
line or outside line depending upon what line the action originates
from. An expulsion can also easily be executed by initiating the actions
from six moving to eight. It should be noted here that both of the
expulsion actions move from high lines to low lines. Low to high line
expulsions are awkward and ineffective. The expulsion is generally the
precursor to an attack. Most often following an expulsion comes a
release of the opponents blade followed by an attacking or
counterattacking action of some type (intrecciata Italian).
The third of the four is the Glide (coule French, glizade
Italian). Using timing, speed and distance it is simply an action in which
the offending blade runs quickly and lightly along the opponents blade
landing a touch in the same line. It is literally a grazing type action. The
action generally takes an opponent off guard because the blade
contact and pressure is threatening in both the physical and
psychological sense.
The glide is most effectively executed from either six or four but can be
done from all eight positions. High line action is however the most
effective.
The fourth of the attacks of the iron is the Press (presser
French) The press is an attempt to push the opponent's blade aside or
out of line which follows depending on the opponent's response by a
offensive, defensive, counteroffensive, or countertime action.

4. The fourth essential blade work action is the Disengagement

(degage French, cavatione di tempo Italian). The disengage is
generally thought of as a simple attack the is executed by the blade
traveling from one line to another generally by passing under the
opponents blade. Originally the name came from the release of one
blade from another when they were in contact or engaged.
A Derobement (French) is a type of disengage that is used to
evade, that is to deceive any of the four takings of the iron or the four
attacks of the iron.
A Trompement (French) is also a type of disengage that is used
to evade, that is to deceive, an attempted parry. In short a fencer
disengages as he avoids any blade closing on his. A significant rule
of thumb is to disengage a closing line and to attack into an
opening line!

5. The fifth essential blade work is the Cut Over (coupe French,
cavazion angolata Italian). The cut over is generally considered a
simple indirect attack executed by moving the tip of the blade from one
line to the opposite line over the top of the opponents blade. It
generally moves from six to four or four to six. The action is credited to
Andre de Liancour in the mid 1600s.

Tactical Actions:

Fencing tactics are the proper application of fencing techniques

with precision to score touches and not be scored against. On the
average it takes from three to five years to master the basic blade work
and footwork necessary to become a really competent fencer. This is a
time of drilling with a coach and working independently to make
essential actions muscle memory. In order to be practical and effective
they must become instantaneous reflexes rather than the fencer
having to think about each one as a possibility and then implement it.
In other words actions become instinctive rather than a selection
process.
As an action takes place it must be executed in the most
economical fashion possible. That is it must be executed at the correct
distance, the correct timing, and with no wasted motion. To accomplish
this all actions have to have been practiced through drills and actual
competition so that they become absolutely relaxed and fluid. By
experience after both training and competition a fencer learns not only
how to evaluate his opponent but also his own action-responses as
well.
A fencing champion is a tactical fencer. When he approaches the
fencing strip he already has a plan in place. Tactical fencers are trained
to follow through with a series of strategy based actions that provide
necessary information for both survival on the strip and success in the
bout. A champion begins a bout with what are called reconnaissance or
exploratory moves. These test the opponent for patterned responses:
attack situations, blade work preferences, parry or counterattack, type
of parry, type of counterattack, and responses to sudden changes in
distance or timing. Such reconnaissance moves can include: attacks,
false attacks, feints, changes of timing, footwork variations, attempted
attacks or takes of the blade, parry riposte exchanges, invitations, and
responses to second intention actions.
It is also advisable as a part of the reconnaissance procedure to
observe potential opponents as they take lessons or warm up with their
respective coaches. Routine drill responses and actions will follow
through in a bout situation. In pool bouts also take the time to watch
them fence. As this is being done check to see if by any body language
(posturing) they telegraph their intentions prior to attacks etc.
Champions conceal their intentions and mislead their opponents.
The easiest way is during the reconnaissance phase of the bout to
respond in patterns other than normal routine and in so doing set the
opponent up for responses that will not come, or footwork or blade
work that either will not be used or be implemented in ways other than
expected.
Experienced fencers also make use of their feet. The weapon is
delivered and withdrawn by the feet. Changing tempo, cadence, and
distance a swell as using the width of the strip have a profound impact
on the outcome of bouts. In addition it is advisable drive the opponent
rather than being driven by him.

Body Evasions or Displacements (esquive - French) and their

accompanying footwork can be very effective as deceptive tactics
especially if executed and timed to the very last cadence of an
incoming attack. They can be used very effectively as stop hits or time
thrusts. Although technically considered as defensive actions, not
having right-of-way, they can occasionally be used offensively to
launch an attack at close quarters. A few well known examples are: the
Quarter Turn Step and Thrust (volte French, inquartata Italian), the
Outside Diagonal Lunge with Angled Thrust (intagliata Italian), The
Duck Thrust ( boars thrust English), and the Three Point Lunge
(passer dessous French, passata sotto Italian). The last is seldom
seen in todays fencing arena yet it can still be very effective if
executed with unexpected timing.
Feints are also very effective blade work tactical deceptions.
Examples are: the One-Two, the One-Two-Three, the Circular
Disengage (double French, circolazione e finta Italian) and the Cut
Over (coupe French, cavazione angolata Italian). Feints are always
best delivered if accompanied with an acceleration or broken cadence
footwork.
Fencing champions use distractions or other methods to hinder
the opponents game. Excellent distractions are: point-in-line, changes
in footwork tempo and cadence, conversation or absence of blade as
opposed to the opponents demonstrated preferences, blade work and
footwork combinations, ballestra, fleche, and (although not favored by
the writer) stalling for time such as asking to straighten a blade or tie a
shoe. Using time between rounds in direct elimination bouts by
interaction with a coach so that the opponent at least thinks that either
a definite strategy is being discussed or that he is the subject of
conversation can also have a demoralizing and distracting effect on an
opponent.
Tactical fencers control the bout by making the opponent respond
by attacking or defending at inopportune times. In addition a quality
fencer uses as little energy as possible by setting up situations that
cause the opponent to act or react and by so doing using their energy
reserves. When it comes down to it in the end a bout or a tournament
can easily be won or lost because of energy reserves.
Lastly one of the most important fencing strategy applications is
the concept of Second Intention Actions. To make the opponent do
what you want him to do is to control the bout. Second intention is a
coordination of both blade work and footwork to elicit a specific
reaction from the opponent. The best and classic example is to initiate
a short attack with no intention of landing the touch. The opponent
predictably makes a parry followed by a riposte. That riposte is the
setup action. It is parried and a counterattack counter riposte is
launched landing the touch. Any action that elicits a predictable
response from an opponent is second intention whether it involves just
blade action or combines blade work and footwork. All high level
fencers fence in the second intention. It is one of the most important
lessons that a trained intermediate level fencer can learn. To learn it
however a fencer must have a good practical application knowledge of
technique.
Tactically it can be said that a fencing champion is not just a well
trained athlete or technician, but firstly is an astute student of human
nature.

Conclusion:
 To bring to an end what has become a too lengthy discussion, a
competent and complete fencer should be prepared by both his coach
and personal experiences. His preparations should include physical
fitness, mental preparedness, and knowledge of both technical and
tactical aspects of his art. Also fencers should be encouraged to enjoy
the experience. If an activity is not fun it is not worth doing. In the
writers salle there are three rules: Rule One Fencing Safety, Rule
Two -Fencing Fun, and Rule Three - Win!