Preparations of
Attack
There are two main types of preparation
of attack,(double and compound) and the difference
between them should be understood.
Compound Preparations
The actions are made in the same period of fencing time.
eg. step and pressure, beat and step with the foot and
hand working together.
Double Preparations
The actions follow each other. eg step then beat. The
session then concentrated on giving lessons on beats made
on different sides of the blade.
- The beat was made on top of the
blade.(moving downwards)
- The beat was made underneath the
blade.(moving upwards)
The weight of the beat was also varied.
- light beat followed by a heavy beat.
- Two light beats on various sides of the
blade.
Beats were then made from different lines.
- From seconde. ---------
- From quinte.
- From septime. ---------
- Plus combinations of these.
One observation on the above which I find relevant, is
that if the preparations are complex then the finish
should be simple. If the fencer finishes with a complex
action then the chance of making an error creeps in. We
approached the question by finishing most actions with
simple strokes and with the electric foil this must be a
good thing.
On the Basic Coaches Course, a beat in
sixte and one in quarte were sufficient; on the
Intermediate Course change beats were introduced; but on
the Advanced we began to look much deeper into the
subject
- Absence of blade in sixte - the
attacker beats under the blade and lunges low.
- Absence of blade - the attacker beats
on top of the blade and lunges with a straight
thrust.
- A light beat is made on top of the
blade, then a heavy beat underneath with the attack
finishing low.
- The reverse of above.
- A light beat in quarte followed by a
heavy beat (to surprise an opponent with a light grip)
finishing either direct or indirect.
- A beat made under the blade from
septime. A beat made under the blade from octave.
- Make the beat so that the angle of the
beat tends to remove the handle from the hand, through
the Cap of the thumb and the first finger. Years ago
this was how a disarm was made. The fencer should
concentrate on achieving this angle between the
sword-arm and the blade. This stroke has its maximum
impact a against those with weak hands or those who use
a French grip.
It is evident that the combinations of beats run into
large numbers. An advanced coach must select the beats to
suit his pupil. e.g. A small person beats under the blade
and lunges low. This type of exercise may seem
self-evident, but one often sees a coach teaching a
stroke which is totally unsuited to the competitive
fencer.
There are a variety of ways in which to
use beats - not just as preparations of attack but
as;
- The beat used in second intention; by
making the beat bad or too obvious the fencer draws an
attack from his opponent which is then parried and the
riposte made.
- The beat can be used tactically; a
series of beats can be made to distract or upset an
opponent or to buy time.
- Beats can be used to make a fencer
lighten his grip or loose control.
- The beat can be used to precede a
counter-attack. i.e. the fencer beats then straightens
his arm on attacker who leaves his blade out too
long.
- A beat parry is very effective when an
attacker has closed distance.
It was stressed again that the basic beats (in sixte and
quarte) are still the most effective for beginne rs.Beats
must be selected to suit the pupil. It would be
disastrous to train o class to use heavy beats as they
would all become heavy handed. However, if the coach is
training a strong fencer, then use his strength.
At this stage, one beat and/or a
combination of beats was taken. The stroke was taught
technically and then developed into a tactical
lesson.
- As an attack.
- As a riposte.
- As counter-time.
- As a counter riposte.
- To draw a specific action.
An example of this lesson is the beat under the blade
followed by a lunge low. i.e.
- The contact was crisp and clean.
- The blade detached and moved directly to
target.
- The action was concealed so that the
defender had no time to deceive.
- The point was kept as close to target as
possible.
This was then developed into a lesson:
- The beat used as a preparation of
attack at various distances.
- The beat was disguised. i.e. a feint
direct then the beat under the blade was made.(The
feint was made on a slightly bent arm.)
- The attacker lunges, the defender steps
back then moves in quickly, beats under the blade and
lunges on the attacker's recovery.
- The beat was used as a parry. The
defender was on guard in octave. The attacker lunges,
the defender then uses the beat against a straight
thrust in the high line.
- As above, but suddenly appearing to
relax the hand thus provoking; the attack.
- The attacker makes the boat so obvious
that it is deceived. 11c then taked counter-sixte and
ripostes.
- As above but ending with a Time
thrust.
- From other lines.
This was also used as a method of building fighting
lessons and selection exercises.
Coule The opponent is
uncovered. He is attacked with a straight thrust into the
uncovered line. The attacker tries to get opposition of
forte to foible and uses the element of surprise to
achieve a hit. This is a simple action, which is also
effective when used as a preparation of attack.ie.
coule/disengage. It is rarely used to precede long
complex attacks.
Froissement. This is
similar to the coule, but the conditions are much
stronger. It is very useful from the low hand position,
as this makes the ceding parry more difficult.
Change of Engagement
This was approached, not just from sixte to quarte, but
from a variety of lines, and using it as a prise-de-fer.
There are a large number of actions, each one of which
may be suited to a particular fencer.
- In sixte, the change of engagement is
made to end in octave. This is a deadly action, often
completely opening up a fencer to an attack in the high
line. It was noted that this stroke could be said to be
a change to quarte and then a bind. Perhaps this is
true, but advanced coaching must never be spoiled by
semantics. After all, the stroke is essentially a
prise-de-fer. (I have seen professional courses ruined
by each party trying to insist on one definition or
another.) It does not matter when instructing advanced
fencers. The stroke is what counts.
- The change is made from sixte to
quinte. Here the hit can either go direct, or can be
developed with a fast lateral coupé to the low line. It
is most useful when used against left-handers.
Therefore the coaches must practise giving lessons
left-handed.
- The change is made from sixte to
tierce. Here the hand should turn sharply over the
blade. It is most effective when used against a fencer
with a low hand. It is also effective when finished
with a flèche.
- The change is made from sixte to
seconde, prime or septime.
Many of the actions listed above can be used from other
lines. It is a mistake only to coach the change of
engagement from sixte. Changes have a variety of uses.
They can be used to provoke counter time, or in second
intention. Immediately the coach talks of changes he has
two important points to bring out.
- Distance- not only from the pupil's
point of view but also from the coach's.
- "Dominance"; when the change is made,
the person making the change should dominate his
opponent's blade.
The change must be completed on the back foot, when
moving forward. this must be stressed at advanced level.
i.e. The fencer steps too close to draw a counter
offensive action and is hit. On the other hand he is too
far away when he attempts the change and therefore misses
the blade.
Technique of the
Change
The most important factor is that the point leads, thus
ensuring that the blade is collected with the minimum of
delay when the guard leads it is easily deceived. To
improve his chance of collecting the blade, the attacker
puts a tiny pressure on his opponents blade before he
attempts the change. when this is done the opponent tends
to answer the pressure. It is now virtually impossible to
deceive the change. Very few coaches use this pressure to
precede the change. When using the pressure the fencer
goes back to a basic rule: the attacker is always
covered.
Before the lesson is given the coach
should stress the point of the lesson to himself.
i.e.
- Preparation of attack
- An action to provoke an attack.
- Distance.
- Domination.
Typical Lesson
As we had not studied the balestra and the flèche,
the lesson was confined to the lunge and the step.
- Technical instruction of sixte to
octave.
- The stroke is practised with absence of
blade, using different distances.
- The coach deceives the pupil's
attempted change and counterattacks. The pupil
parries either quarte or counter-octave and ripostes.
This can be developed into a selection lesson.
- In this development the pupil completes
the change. The coach then does a fast beat and lunges.
The pupil parries sixte and ripostes. The pupil could
also use a time thrust in sixte, using his feet to get
the correct distance. This sequence could also be
developed into a selection lesson.
- The change of engagement can be used in
a phrase. ie. the pupil has to use the action to break
from defence. The pupil has to time his action
precisely, as the coach can news- vary the height of
his hand, vary the distance or chance the cadence.
- In this development the coach steps in,
and the action becomes a parry quarte, bind. and
riposte.. The coach should move as a fencer. The pupil
must be trained. to return to guard correctly, after
each action. This is done so that he may defend
himself, attack and be better positioned. to deal with
any surprise action. The coach must be ready to attack
him to ensure this concentration.
- The pupil takes the change of
engagement, but finds he is at the wrong distance and
therefore quickly breaks ground.
- After the chance is completed, the
coach counter attacks with a coupé from octave. The
pupil parries and ripostes.
- The pupil changes the last action of
his attack. ie. as above with a coupé from octave.
- The coach deceives the pupil on his
step forward, and straightens his arm. The pupil ends
with a prise-de-fer. ie. an envelopement.
From this it can be seen, that the pupil not only has to
know how to do the action, but it has to be built into
his repertoire. He should understand some of its tactical
uses and be trained to deal with the unexpected. Lesson
Time 35-45 minutes
