FENCING
This is a list of Frequently Asked Questions (FAQ) with answers, compiled for
the UseNet newsgroup rec.sport.fencing.
It is intended to reduce repetitive discussions on the Net by addressing
commonly raised topics. This document is maintained by Morgan Burke (morgan@sitka.triumf.ca).
Contributions, corrections, and suggestions are welcome.
Most of the questions and answers pertain to FIE (Olympic) Fencing; Japanese
fencing (kendo, kenjustsu, iaido, etc.) is treated in a separate FAQ list
("Japanese Sword Arts") that can occasionally be found in the
newsgroups rec.sport.fencing or rec.martial-arts,
or on the IAIDO-L mailing list (see section 3.8 for details). The Japanese
Sword Arts FAQ is maintained by Neil Gendzwill (gendzwill@SEDSystems.ca).
The Fencing FAQ is presented in three parts:
1. GENERAL: common questions about starting fencing, training, and rules
of competition
2. EQUIPMENT: fencing equipment, maintenance, and troubleshooting
3. REFERENCE: organizations, suppliers, reading
materials, net
resources, glossary, etc.
All parts can be found on the UseNet newsgroups rec.sport.fencing,
rec.answers, or news.answers.
Otherwise, consult section 3.8 for information on finding archived copies
of this document. An HTML version is available on request.
Here's a quick guide to some of the more persistent topics on rec.sport.fencing:
- Finding equipment retailers - see section 3.2
- Finding a fencing club - see section 1.10
- Modern sport vs. classical martial art - see sections 1.2, 1.3
- Legality of Spanish and Italian grips - see section 2.7.1
- Analysis and priority - see sections 1.13, 1.14, 1.15, 1.16
- Flicks - see sections 1.14, 1.17
- Weapon maintenance and repair - see sections 2.8, 2.10, 2.12, 2.14,
2.15, 2.16
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PART 1 : General
General:
1.1 What sports and martial arts comprise fencing?
1.2 How did fencing originate?
1.3 How is modern fencing different from the "real
thing"? *** revised
1.4 Which is the best weapon? *** revised
1.5 Is fencing going to be eliminated from the Olympics?
Getting Started:
1.6Does it hurt?
1.7 How long does it take to become good?
1.8 What qualities make a good fencer?
1.9 How much does it cost to get involved in fencing?
1.10 How do I find a good fencing club?
Training:
1.11 What kind of cross-training will help my fencing?
1.12 How can I improve my technique without the help of
a coach?
Regulations:
1.13 What is right of way?
1.14 What constitutes an attack?
1.15 What constitutes a parry?
1.16 What constitutes a point-in-line?
***revised
1.17 What is the scoop on "flicks" and
"whips"?
1.18 What are the latest rule changes?
***revised
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1.1 What sports and martial arts comprise
fencing?
The Olympic sport of fencing is comprised of three weapons: foil, epee, and sabre. All are fenced on a long rectangular strip, and electronic scoring aids are normally used to assist in the detection of touches. The rules governing these three weapons are determined by the FIE (Federation Internationale d'Escrime). Briefly, the FIE weapons are described as follows:
Foil: Descended from the 18th century small sword, the foil has a thin, flexible blade with a square cross-section and a small bell guard. Touches are scored with the point on the torso of the opponent, including the groin and back. Foil technique emphasizes strong defense and the killing attack to the body.
Epee: Similar to the duelling swords of the mid-19th century, epees have stiff blades with a triangular cross section, and large bell guards. Touches are scored with the point, anywhere on the opponent's body. Unlike foil and sabre, there no rules of right-of-way to decide which attacks have precedence, and double hits are possible. Epee technique emphasises timing, point control, and a good counter-attack.
Sabre: Descended from duelling sabres of the late 19th century, which were in turn descended from naval and cavalry swords, sabres have a light, flat blade and a knuckle guard. Touches can be scored with either the point or the edge of the blade, anywhere above the opponent's waist. Sabre technique emphasises speed, feints, and strong offense.
The most popular of eastern fencing techniques is kendo, the Japanese "Way of the Sword". Kendo is fought with a bamboo shinai, intended to resemble a two-handed Japanese battle sword. Combatants wear armour, and strike to the top or sides of the head, the sides of the body, the throat, or the wrists. Accepted technique must be observed, and judges watch for accuracy, power, and spirit. See the Japanese Sword Arts FAQ for more information.
Other martial arts that include elements of swordsmanship are:
Aikido -- self defence against armed and unarmed attackers. Includes using and defending oneself against Japanese sword techniques.
Arnis, Escrima, Kali -- Phillipino stick and knife disciplines.
Iaido -- the Japanese art of the sword draw (also Iaijutsu and batto-jutsu, more combat-oriented variants of the same).
Jogo do Pau -- a Portuguese stick-fighting discipline.
Jojutsu -- a Japanese stick-fighting discipline.
Kalaripayitt -- includes sword and weapons techniques from south India.
Kenjutsu -- the unadulterated Japanese martial art of the sword.
Krabi Krabong -- a Thai martial art that includes many sword forms.
Kumdo -- A Korean variant of Kendo.
Kung-fu -- a Chinese martial art that includes many sword techniques.
La Canne -- French Boxing, with a single-handed stick, using rules similar to classical fencing.
Le Baton -- similar to La Canne, but with a longer, 2-handed stick.
Maculele -- Afro-Brazilian machete forms, related to Capoeira.
Mensur -- German fraternity "duelling", with schlagers.
Modern Pentathlon -- the "soldier's medley", a sport that recreates demands placed on a pre-20th century military messenger: running, swimming, shooting, equestrian jumping, and epee fencing.
Pentjak Silat -- Indonesian arts that include sword and stick forms.
Single Stick -- an ancestor of sabre fencing, fought with a basket-hilted wooden rod.
SCA duello -- rapier-like fencing in the round, with off-hand techniques. Additional info on the SCA can be found in the newsgroup rec.org.sca.
SCA heavy lists -- medieval-style heavy combat, with rattan weapons, armour, and shields. Additional info on the SCA can be found in the newsgroup rec.org.sca.
Shinkendo -- real-sword-oriented variant of Kendo.
Tai Chi -- another Chinese martial art that includes many sword techniques.
1.2 How did fencing originate?
Swordfighting as sport has existed since ancient Egypt, and has been
practiced in many forms in various cultures since then. Although jousting and
tournament combat was a popular sport in the European middle ages, modern
FIE fencing owes more to unarmoured dueling forms that evolved from 16th century
rapier combat. Although rapier combat had a nominal military role (for thrusting
into the chinks of heavy armour), it was most popular amongst civilians who used
it for self-defence and dueling.
Rapiers were edged, but the primary means of attack was the thrust. Rapier
fencing spread from Italy to Spain and northwest Europe, in spite of the
objections of masters such as George Silver who preferred traditional cutting
weapons such the English long sword. The Spanish school, under masters such as
Narvaez and Thibault, became a complicated and mystical affair whose geometrical
theories required much practice to master. Italian masters like Agrippa
and Capo Ferro developed a more pragmatic school in the late 16th and early 17th
centuries, introducing innovations such as linear fencing and the lunge.
By the 18th century, the rapier had evolved to a simpler, shorter, and lighter
design that was popularized in France as the small sword, or court sword.
Although the small sword often had an edge, it was only to discourage the
opponent from grabbing the blade, and the weapon was used exclusively for
thrusting. The light weight made a more complex and defensive style
possible, and the French masters developed a school based on subtlety of
movement, detached parry-ripostes, and complex attacks.
When buttoned with a leather safety tip that resembled a flower, the small sword
was known as le fleuret, and was identical in use to the modern foil (still
known as le fleuret in French). Indeed, the French small sword school
forms the basis of most of modern fencing theory. By the mid-19th century,
dueling was in decline as a means of settling disputes, partially because
victory could lead to a jail term for assault or manslaughter. Emphasis
shifted to defeating the opponent without necessarily killing him, and less
fatal dueling forms evolved using the dueling sword, or epee de terrain, an
unedged variant of the small sword.
Later duels often ended with crippling thrusts to the arm or leg, and fewer
legal difficulties for the participants. This is the basis of modern epee
fencing. Cutting swords had been used in bloodsports such as backsword
prizefights at least as far back as the 17th century. Broadswords, sabres, and
cutlasses were used extensively in military circles, especially by cavalry and
naval personell, and saw some dueling application in these circles as well.
Training was performed with wooden weapons, and stick fighting remained
popular until Italian masters formalized sabre fencing into a non-fatal
sporting/training form with metal weapons in the late 19th century.
Early sport sabres were significantly heavier than the modern sport sabre and
necessitated a strong style with the use of moulinets and other bold movements.
As with thrusting swords, the sabre evolved to lighter, less fatal dueling forms
such as the Italian sciabola di terro and the German schlager. Hungarian masters
developed a new school of sabre fencing that emphasized finger control over arm
strength, and they dominated sabre fencing for most of the 20th century. Dueling
faded away after the First World War.
A couple of noteworthy duels were fought over disputes that arose during Olympic
games in the 1920s, and there have been rare reports of sword duels since then.
In October 1997, the Mayor of Calabria, Italy, publicly challenged certain
Mafiosos to a duel. German fraternity dueling (mensur) still occurs with
some frequency. The first modern Olympic games featured foil and sabre fencing
for men only. Epee was introduced in 1900. Single stick was featured
in the 1904 games. Epee was electrified in the 1936 games, foil in 1956,
and sabre in 1988.
Early Olympic games featured events for Masters, and until recently fencing was
the only Olympic sport that has included professionals. Disruptions in
prevailing styles have accompanied the introduction of electric judging, most
recently transforming sabre fencing.
Foil fencing experienced similar upheavals for a decade or two following the
introduction of electric judging, which were further complicated by the new,
aggressive, athletic style coming out of eastern Europe at the time. Women's
foil was first contested in the 1924 Olympic games, and Women's epee was only
contested for the first time in 1996, although it has been part of the World
Championships since 1989.
Women's sabre made its first appearance in the 1998 World Championships as a
demonstration sport.
1.3 How is modern fencing different from the "real thing"?
If the "real thing" is a duel with sharps, then aside from the mortal danger and related psychological factors, the primary technical difference is that the duelist can win with only a single good touch, whereas the athlete has to hit his opponent as many as 15 times and so requires more technical and tactical depth. Many inferior duelists have won their combats through sheer dumb luck.
This is far less likely in the sport. On the other hand, the sport fencer
takes many defensive risks that would be unthinkable in a duel, since he has up
to 15 "lives" to work with. Some purists equate "real"
fencing with classical fencing, ie. the prevalent styles of the traditional
French and Italian schools of fencing that predominated before electric fencing
was popularized. By comparison, modern fencing is more mobile and
athletic, while classical fencers were known for their more sophisticated
phrasing and bladework.
Modern sabre fencing is performed with lightweight weapons and techniques that
do not translate well to military sabres and broadswords. There is a
certain amount of cross-over with lighter turn-of-the-century dueling sabres,
however. Lastly, it just seems apparent to some that sport fencing has evolved
away from its bloody origins. Tactically and psychologically, it is true
that the sport is a vastly different world from the duel.
The sport fencer's life is never in jeapordy, and with as many as 15 hits needed
to secure victory, there often isn't even much figurative danger. Since
the quality of a hit is immaterial, fencers will naturally prefer an easy
"wounding" hit over a difficult "fatal" one, and so glancing
hits will often win out over strong thrusts.
Technically, however, there have been few modern innovations, and the sport
fencer still possesses all the technical skills necessary to fight a duel.
If the question means "what kind of fencing is the most fun?" then the answer is: it depends what aspects of fencing you enjoy the most. If you are fascinated by technique, bladework, and tactics, you will probably get a lot of satisfaction from foil fencing. More visceral fencers who want to experience the adrenaline rush of a fast, agressive sword fight will want to try some sabre. Most epee fencers consider themselves practical, no-nonsense sword fighters who rely on as few artificial rules as possible.
Enthusiasts of more medieval combat styles, involving armour and heavy weapons,
should consider kendo or the SCA heavy lists. Perhaps the question means
"what is the best weapon for a beginner to start with?" Foil is
the most common starter weapon, and its skills translate most easily to the
other weapons. Sabre is less ideal for students planning to try other
weapons, due to the higher cost of electric sabre gear, and the reduced use of
the point. Fencers who begin with epee may struggle with the concept of
right-of-way if they attempt to learn a second weapon later.
However, if the student is certain that they will stick with sabre or epee, then
there is no harm to starting with those weapons immediately. On the other hand,
if the question means "which weapon is the most deadly?" the
answer will depend on a lot of factors, not the least of which are the skill of
the combatants, the presence of armour, the military and cultural context, and
the rules of the fight (ie. is this a street fight, a gentlemen's duel, or open
field warfare?). Most swords are highly optimized for performance in a specific
environment, and will not perform well outside it. Comparing two swords
from completely different historical contexts is therefore extremely difficult,
if not downright silly. Then again, perhaps the question means "which style
of fencing is the most realistic?"
It must be said that questions of realism have little relevance to an activity
that has almost no practical application in the modern world other than sport
and fitness.
Historically, however, epees have the closest resemblance (among FIE weapons) to
real dueling swords, and the rules closely parallel those of actual duels
(sometimes being fought to only a single point).
1.5 Is fencing going to be eliminated from the Olympics?
Olympic fencing appears to be safe for the present, and was recently expanded to include Women's Epee. Since the IOC perpetually changes its roster of Olympic sports, nothing is certain in future games. Although fencing is one of only four sports to have been involved in every modern Olympic Games since their inception in 1896, it has been mentioned in the past as one of the disciplines that may be eliminated from future Games.
According to Gilbert Felli, Sports Director of the International Olympic
Committee, the IOC plans to refine future games in various ways, including:
-- limiting the number of athletes to 15000 -- increasing
participation by women -- eliminating "so-called artificial team
events" -- limiting sports of a similar type -- modernizing
the Olympic program -- encouraging sports that provide a good television
spectacle.
Fencing recently underwent numerous revisions to its rules and structure to
improve its value as a (televised?) spectator sport, perhaps in the hopes of
improving its Olympic viability.
Not if done properly. Although executed with appreciable energy, a
good, clean fencing attack hurts no more than a tap on the shoulder. The
force of the blow is normally absorbed by the flex of the blade. Reckless
and overly aggressive fencers can occasionally deliver painful blows, however.
Fencing *is* a martial art, so you should expect minor bruises and welts every
now and again. They are rarely intentional. The most painful blows
tend to come from inexperienced fencers who have not yet acquired the feel of
the weapon. The primary source of injury in fencing is from strained muscles and
joints. Proper warm-up and stretching before fencing will minimize these
occurences.
There is a risk of being injured by broken weapons. The shards of a
snapped blade can be very sharp and cause serious injury, especially if the
fencer doesn't immediately realize his blade is broken, and continues fencing.
Always wear proper protective gear to reduce this risk. FIE homologated
jackets, britches, and masks are ideal, as they are made with puncture-resistant
fabrics such as ballistic nylon.
If you cannot afford good fencing wear, use a plastron (half-jacket worn beneath
the regular fencing jacket), and avoid old and rusty masks. Always wear a
glove that covers the cuff, to prevent blades from running up the sleeve.
Fencing is often said to be safer than golf. Whether or not this is true,
it is an extraordinarily safe sport considering its heritage and nature.
1.7 How long does it take to become good?
There is a saying that it takes two lifetimes to master fencing. By the time anyone has come close to "mastering" the sport, they are long past their athletic prime. Some may feel that this is a drawback to the sport, but most fencers see it as a great strength: fencing never becomes dull or routine; there are always new skills to master, and new grounds to conquer. In times past, students often were not permitted to hold a weapon until they had completed a year or two of footwork training.
Modern training programs rarely wait this long, and in many cases students will
be fencing (albeit badly) almost immediately. Novice-level competition is
feasible within 3-6 months. Competition at this point should be viewed as a
learning aid, not as a dedicated effort to win. Serious attempts at competing
will be possible after 2-3 years, when the basic skills have been sufficiently
mastered that the mind is free to consider strategy.
A moderate level of skill (eg. C classification) can take a few years of regular
practice and competition. Penetration of the elite ranks (eg. world cup,
international 'A' level) demands three to five days per week of practice and
competition, and usually at least 10 years of experience.
Progress can be faster or slower, depending on the fencer's aptitude,
dedication, quality of instruction, and the age at which they begin. Rapid
progress normally requires at least three practices per week, and regular
competition against superior fencers.
With the increasing emphasis on athleticism in the modern sport, fencers are
getting younger, and the champions are getting to the podiums faster.
1.8 What qualities make a good fencer?
All of them. On the athletic side, speed and cardiovascular fitness rank
foremost. Other traits that can be exploited are strength (for explosive
speed, not heavy handedness), manual dexterity, and flexibility. Quick
reaction time is extremely important. On the mental side, a fencer must be
adaptable and observant, and have a good mind for strategy and tactics.
Psychologically, he or she must be able to maintain focus, concentration, and
emotional level-headedness under intense conditions of combat. As far as body
type goes, it is always possible to adapt your style to take advantage of your
natural traits. Even so, height seems to be most useful in epee.
Small or thin people are harder to hit in foil. A long reach helps in
epee, and long legs are an asset in foil. It should be noted that left handers
seem to enjoy a slight advantage, especially against less experienced fencers.
This may account for the fact that lefties make up 15% of novice fencers, but
close to half of FIE world champions.
1.9 How much does it cost to get involved in fencing?
A beginner's dry fencing kit (cotton jacket, glove, dry weapon, mask) will cost about US$100-200. A full set of FIE-spec competition gear (FIE jacket, pants, mask, 2 weapons, wires, glove, shoes, plastron, electric jacket) will run at least US$500-1000. FIE equipment is recommended both in terms of safety and quality, but clothing costs can be as much as halved by purchasing regular cotton or synthetic knits.
Do not expect such equipment to be accepted at national or international levels
of competition, however. Used equipment can also be bought from retiring
or upgrading fencers. Club costs vary widely, depending on the quality of the
space, the equipment provided to its members, and the amount of coaching
included in the club fees.
Advanced lessons are usually purchased separately.
1.10 How do I find a good fencing club?
Start with your local Provincial or Divisional fencing association. If you
don't know how to find them, contact your national fencing body (see section
3.1). Your national body may maintain a list of known fencing clubs in the
country. Otherwise, your local association will be able to tell you about
recognized clubs in your area.
Many universities and colleges also sponsor fencing clubs and teams that will
often accept non-students as members. You might also check out courses or
camps offered by local community centers. Fencers with Web access can find a
list of U.S. fencing clubs at http://sarah.rsip.lsu.edu/fencing/fencing.clubs.html
or at http://www.usfa.org and a list of
Canadian Fencing clubs at http://www.fencing.ca/fra_dire.htm
Once you have a list of potential clubs, you will want to evaluate them and your
needs. Desirable qualities vary, depending on your skill level and what
you want to get out of fencing. Look for a good range of skill levels,
decent equipment inventories, adequate scoring sets, emphasis on your favourite
weapon(s), a spirited competition ethic, access to personal lessons, and a coach
or master with a good record (ie. successful students).
If you still have a choice, count yourself lucky, and choose the club that makes
you feel comfortable and relaxed without sacrificing the athletic spirit that is
essential to progress.
1.11 What kind of cross-training will help my fencing?
The best training for fencing is fencing. Fencing development is asymmetrical and few other sports use the same muscle groups, so this is a difficult question whose answer depends largely on what aspect of your training you really want to focus on. Cardiovascular fitness and leg strength always help, so anything that enhances these will be beneficial. Cycling, swimming, aerobics, and skating are good examples.
Running, sprinting, soccer, basketball, and similar sports can also be helpful,
although some athletes dislike the stresses they put on the knees. Racquet
sports like tennis, badminton, squash, racquetball, and table tennis are also
excellent, and will exercise your weapon arm in addition to your legs. Circuit
or period training (short bursts of high-heart-rate exercise followed by brief
recovery periods) has been put forward as particularly relevant to the demands
of fencing.
Many martial arts have physical and mental demands that are similar to fencing,
and can improve both your fitness and your intellectual approach to the sport.
Technique and tactics very rarely translate, however. Weight training can help,
if done properly, but the athlete must remember that flexibility, speed, and
technique are more important than raw strength--although proper strength
training (especially of the lower body and legs) can improve speed
significantly.
Otherwise, endurance training should have priority over bodybuilding. Some
fencers maintain that juggling improves reactions, hand-eye coordination, and
use of peripheral vision. Many coaches and fencers suggest occasional fencing or
workouts with your opposite hand, both to improve skill and balance your
muscular development.
1.12 How can I improve my technique without the help of a coach?
It is very easy to acquire bad habits and poor technique if you do not have
the guidance of a knowledgable fencing master, coach, or fellow fencer. If
you are serious about improving your fencing, quality coaching is always your
best investment. However, a disciplined fencer still has options if decent
instruction is not available on a regular basis. Firstly, a solid knowledge of
fencing theory and regulations is a must. Freelance fencers should study
the FIE Rules of Competition and a good fencing manual (see Section 3.3).
They should test and apply this knowledge by refereeing whenever possible.
An appreciation of good fencing style is also essential, so that they can
readily identify weaknesses in their own and other fencers' techniques.
Observation and comparison of skilled or accomplished fencers will develop this
ability. Training videotapes and videotapes of high-level competitions (see
Section 3.6) are also helpful in this regard.
Freelance fencers must be open-minded and critical of their own technique, so
that they can recognize problems before they develop into habits.
Discussion of their weaknesses with training opponents will help them clarify
the areas that need work. If possible, they should videotape their bouts
and review them to spot defects in their tactics and technique. Fencers should
seek out opponents who will strenuously test their weaknesses. More
experienced fencers, left-handers, those whose tactics are particularly
effective, and even those with annoying (ie. difficult) styles should be courted
on the practice strip.
When fencing less skilled opponents, fencers should restrict their tactics to a
small set that require practice, and resist the temptation to open up if they
should start losing. The opportunity to participate in footwork and line drills
should never be passed up. When they can find agreeable partners, fencers
can do more personalized drills to exercise their weak areas. (Of course
it is courteous to indulge the needs of your partners when they in turn work on
their own training.)
Lastly, fencers should remain aware of their bout psychology and mental state
when fencing, and try to cultivate the mindset that in their experience produces
good fencing.
Right-of-way (or priority) is the set of rules used to determine who is awarded the point when there is a double touch in foil or sabre (ie. both fencers hit each other in the same fencing time). It is detailed in the FIE Rules of Competition, Articles t.56-t.60 (old 232-237) for foil, and t.75-t.80 (old 416-423) for sabre.
The core assumption behind right-of-way is that a fencing bout is always in one
of three states: -- nothing significant is happening -- the fencers are
conceiving and executing their actions simultaneously -- one fencer is
threatening, while the other is reacting to the threat Since no points
will be scored in the first situation, we can ignore it. In the second
situation, the fencers' actions have equal significance, and it is impossible to
award a touch. Both touches will be annulled and the bout will be resumed
where it was stopped.
The third situation is the important one. The first fencer to establish a
threat has priority (right-of-way), even if the other reacts by making a
counter-threat. Any hit from the fencer with priority takes precedence
over a hit from the other. The job of the referee is to decide which
fencer did not have right-of-way, and annul his touch. If he cannot
decide, the referee should abstain, annul BOTH hits, and resume the action where
it left off. A proper threat can be either an attack (see question 1.14), or a
"point in line" (see question 1.16) that is established before the
opponent attacks. Right-of-way is lost when the threat misses, falls short, is
broken off, or is deflected away from the target by a parry or other engagement
from the defender.
The defender then has "right of attack" for a split second; if he
returns the threat immediately, he takes over right-of-way and the tables have
turned. If he hesitates, however, it becomes a toss-up; the first fencer
to establish a threat will sieze the right-of-way anew. The right-of-way
relationships between common fencing actions are as follows: - derobement has
right-of-way over attacks on the blade - attacks on the blade have right-of-way
over the point in line - point in line has right-of-way over the attack - the
simple attack has right-of-way over the stop-hit - the stop-hit has right-of-way
over the renewal of the attack - the stop-hit in time has right-of-way over the
compound attack - the riposte has right-of-way over the renewal of the attack -
the counter-riposte has right-of-way over the renewal of the riposte - the
remise of the attack has right-of-way over the delayed riposte
1.14 What constitutes an attack?
According to Article t.7 (old 10) of the FIE rules of competition, "the attack is the initial offensive action made by extending the arm and continuously threatening the opponent's target." A threatening weapon is normally interpreted to be one that will or could hit the opponent if no defensive action is taken. In other words, a weapon threatens if it is moving towards the target in a smooth, unbroken trajectory. This trajectory can be curved, especially if the attack is indirect, compound, or involves a cutting action.
Hesitations and movements of the blade away from the target will usually be
perceived as a break in the attack or a preparation of the attack. One common
misconception is that a straight or straightening arm is required to assert the
attack. However, a straight arm is not an attack, but a point-in-line.
The attack begins when the arm begins extending, not once it is fully extended.
It is not even necessary that the arm become fully straight, although
that is normal for attacks at medium and longer distances.
Retraction of the arm, however, will usually be interpreted as a break in the
attack. Another common misconception is that an attack does not threaten unless
the blade is aimed at the target. This is not generally true. The
definition of an attack is the same for cuts and thrusts, so cuts and cut-like
actions (including coupe's and "flicks") must threaten while the blade
is still out of line.
Generally, an attack threatens if it is moving towards the target as part of a
smooth, unbroken movement, regardless of where the point is located when that
movement begins. Many fencers are under the mistaken impression that a bent arm
or out-of-line point constitutes a preparation, and therefore that they can
rightfully attack into it. If the bent arm is extending and the
out-of-line point is moving towards the target, however, this assumption is
usually false under modern fencing conventions.
A successful attack on the preparation must clearly precede the opponent's
initiation of his final movement, or else arrive a fencing time ahead of his
touch. Sabre fencers must also consider Article t.75 (old 417) of the Rules of
Competition, which states when the attack must land relative to the footfalls of
a lunge, advance-lunge, (and fleche, historically).
Attacks that arrive after the prescribed footfall are deemed continuations, and
do not have right-of-way over the counter-attack. Sabre fencers must also
remember that whip-over touches can be interpreted as remises, and not mal-pare's.
1.15 What constitutes a parry?
According to Article t.7 (old 10) of the FIE Rules of Competition, "the parry is the defensive action made with the weapon to prevent the offensive action from arriving". A successful parry deflects the threatening blade away from the target. It is normally not sufficient to merely find or touch the opponent's blade; the fencer must also exhibit control over it (although the benefit of the doubt usually goes to the fencer making the parry).
If the attacker must replace the point into a threatening line before
continuing, it is a remise (renewal of the attack) and does not have
right-of-way over the riposte. However, if the parry does not deflect the blade,
or deflects it onto another part of the target, then the attack retains the
right-of-way (mal-pare' by the defender). In practice, very little
deflection is needed with a well-timed parry. A well-executed parry should take
the foible of the attacker's blade with the forte and/or guard of the
defender's.
This provides the greatest control over the opponent's blade. In other
cases the parry can still be seen as sufficient if the attacking blade is
sufficiently deflected. In ambiguous cases, however, the benefit of the
doubt is usually given to the fencer who used his forte/guard. For
example, if a fencer attempts to parry using his foible on his opponent's forte,
it will often be interpreted in the reverse sense (eg. counter-time parry by the
attacker), since such an engagement does not normally result in much deflection
of the attack.
A foible to foible parry could potentially be seen as a beat attack by the
opposing fencer depending on the specifics of the action. At foil, the
opponent's blade should not only be deflected away from the target, but away
from off-target areas as well. An attack that is deflected off the valid
target but onto invalid target can still retain right-of-way. At sabre, the
opponent's blade need only be deflected away from valid target, since off-target
touches do not stop the phrase.
Cuts are considered parried if their forward movement is checked by a block with
the blade or guard. Contact with the blade or guard may be interpreted as
a parry, even if a whip-over touch results. Avoiding whip-over touches
altogether requires exceptionally clean and clear parries. At epee, a good parry
is simply any one that gains enough time for the riposte. Opposition
parries and binds are commonly used, since they do not release the opponent's
blade to allow a remise.
1.16 What constitutes a point-in-line?
According to Article t.10 of the FIE Rules of Competition, the in-line position is that "in which [the fencer's] sword arm is straight and the point of his weapon threatens his opponent's valid target."
Properly done, the arm should be extended as straight as possible, and form a
more or less continuous line with the blade, with the point aimed directly at
the high lines of the target. Excessive angulation at the wrist or fingers
negates the point-in-line.
Superfluous movement of the point also risks negating the line, especially in
sabre. Derobements/trompements, however, are permitted. In foil and sabre,
the point-in-line has priority over attacks that are made without first taking
the blade. With these weapons (but not with epee) it is forbidden to
assume the point-in-line position before the command to fence has been given.
In sabre, a point-in-line that hits with the edge is passe'; if a touch is
registered with the edge, it is properly analyzed as a remise or counter-attack,
except in the case of a derobement.
There are wildly differing opinions on the role of the feet in the
point-in-line. Some claim that any movement forward or backward
invalidates the point-in-line, while others claim that only forward movement
obviates the line. These interpretations are incorrect. It was
widely held to be an official ruling that steps or jumps forward or backward
maintained the point-in-line, but lunges or fleches obviated it.
This ruling, apparently based on a directive from the FIE, was official policy
in the USFA for a while. However, the rulebook does not proscribe any
footwork movements at all, and the current interpretation holds that footwork,
even a lunge or fleche, has absolutely no effect on the priority of the
point-in-line.
1.17 What is the scoop on "flicks" and "whips"?
Flicks are whip-like attacks that can score against very oblique and even concealed targets. Sometimes thought of as a recent corruption, flicks actually have a long history that stems from coupe' (the cut-over) and epeeists efforts to throw their points around the bell.
Properly executed and judged, they are effective and beautiful attacks;
poorly executed and judged, they can be painful and annoying. One common
criticism of the flick is that it would cause minor injury with a real weapon.
The obvious, if flippant, response to this is not to flick if you're trying to
kill someone with a real weapon. Another common criticism is that flicks are
difficult to defend against.
One must simply remember to parry them as if they were cuts, not thrusts (using
auxiliary parries like tierce, quinte, and elevated sixte). The flick is
also highly sensitive to distance, and a well-timed break in the measure will
cause it to land flat. A third criticism is that flicks are usually given the
priority, even though the attack often begins with the point aimed at the
ceiling.
However, the definition of an attack (see question 1.14) says nothing about
where the point is aimed, only what it is threatening. It is normally true
that an attack that scores must have threatened in at least its final tempo, no
matter where it was pointed at the start of that tempo. Sabre fencing has
suffered from a related and more serious scourge, the whip-over. In this
case, the foible bends around the opponent's blade or guard following a parry,
to contact the target and register a touch.
The scoring machines attempt to reduce these false touches by blocking hits
within a certain time window following weapon contact, but this is of limited
effectiveness and also has the unfortunate effect of blocking the occasional
attack through the blade. Referees have tried to help out by analyzing
whip-over touches as remises, but they still score over composed or delayed
ripostes.
The FIE has been considering and trying various possible fixes, including
varying the timeouts and mandating stiffer sabre blades.
1.18 What are the latest rule changes?
The FIE Rules of Competition were completely revised for the 1998 season. Although the wording of the rules is for the most part similar, the article numbers and locations of particular rules are completely different.
DISCIPLINE:
- Leaving the piste with one or both feet earns a verbal caution for
first offense, and group 1 penalties thereafter. (1998)
- In sabre, any action in which the rear leg is crossed in front of the
fore is a group 1 penalty, with the hit annulled. A correctly executed
touch from the opponent is still valid. (1994)
- Salute of opponent, referee, and audience is mandatory at the start and end of
the bout. Failure to do so is a group 3 penalty (if by one fencer
at start of bout), group 4 penalty (if by both fencers at start or end of bout),
suspension (if by loser at end of bout), or annullment of hit (if by
winner at end of bout). (1994)
EQUIPMENT:
- 800N underarm protector (plastron) is required in addition to the regular
800N jacket. (1994)
- Clothing may be of different colours, but those on the body must be white or
light-coloured. (1994)
- Minimum width of the strip is now 1.5 metres. (1994)
- The proposed rule extending the foil target to include the bib has been
dropped.
BOUT FORMAT:
- Coin flip to determine winner in the event of a tie shall be made at end of
regulation time, and one additional minute shall be fenced. The
winner of the coin toss shall be recorded as the victor if the bout is not
resolved by sudden death in the extra minute. (1994)
- No more 1-minute warning, although fencers can request the time remaining at
any normal halt in the action. (1994) - Fencers shall be placed at the en
garde lines at the commencement of each 3-minute period in 15-touch elimination
bouts. (1994)
SCORING:
- When time runs out, scores are recorded as is, rather than elevating the
winner to 5 and the loser by an equivalent amount. (1997)
- Following pools, fencers are sorted by V/M, HS-HR, HS. (1997)
- In sabre, simultaneous attacks that both arrive on the valid target do not
result in any points being scored. (1994)
- In the team relay, the first pair of fencers fence to 5 points or 4 minutes,
whichever comes first. The next pair continue from this score up to 10
points within 4 minutes, and so on up to a total score of 45 points. (1995?)
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ACKNOWLEDGEMENTS:
Author: Morgan Burke (morgan@sitka.triumf.ca)
Contributors: special thanks to Suman Palit, Guy Smith, Greg Dilworth, Kevin Taylor, Eric Anderson, Blaine Price, Steve Hick, Kim Moser, David Glasser, Bryan Mansfield, Donald Lane, Ann McBain, Hagen Lieffertz, Mark C. Orton, Mike Buckley, Dirk Goldar, Scott Holmes, Arild Dyrseth, David Airey, Renee Mcmeeken, Marc Walch, Eric Speicher, Anton Oskamp, Bernard Hunt, Francis Cordero, Kent Krumvieda, David Van Houten, John Crawford, Kim Taylor, Brendan Robertson, Ivo Volf, Kevin Wechtaluk, Frank Messemer, Benerson Little, Mark Crocker, Eileen Tan, Mark Tebault, Tim Schofield, Peter Gustafsson, Kevin Haidl, Peter Crawford, Camille Fabian, Matt Davis, Fernando Diaz, Anders Haavie, Rüdiger Schierz, Todd Ellner, George Kolombatovich, Padraig Coogan, Steve Lawrence, Bryan J. Maloney, Colin Walls
(C) 1993-99 Morgan Burke
Permission is granted to copy and distribute all or part of this document for non-profit purposes.