Article taken from En Garde! The serious fencers' training diary by Maître Gary Worsfield

                                               TECHNICAL FENCING TRAINING

To learn fencing initially requires the physical movements of footwork (en-garde position, advance, retreat and lunge) to be co-coordinated with the sport-specific cues of distance and timing (i.e. an awareness of the opportunity, in time that occurs at either the change of direction: 1. after your opponent has just retreated and at that moment when their body just starts to move forward, and 2. at the end of their lunge and just before they start to return to en-garde and to a safe distance).  This sport-specific principle which emphasizes the relationship between distance and timing is presented as a game called Distance Fencing.

The fundamental sport-specific conventions of fencing such as: priority, attack and defence, riposte verses remise, the line verses sur le marche attacks, preparations of attack verses stop-hits, dérobements in the preparation of attacks and attacks in the preparation of attacks are slowly and progressively added to Distance Fencing.

Within the fencing fraternity technique arguably remains the most important sport-specific component to fencing success.   Sport-specific performance is really, what we see.  We see this performance expressed through a particular style or technique.  World fencing used to be predominantly technical styles peculiar to different nations, in particular French, Italian and the Soviet block (U.S. S. R., Hungary and Poland).  If we perceive fencing from a technical perspective, we will attempt to assimilate the various styles. With modern sport-science knowledge, we can more efficiently learn to be better fencers.  Not just technically good fencers but athletes determined to totally learn the sport-specifics of the skills and not just the technical portion of them.

Physiology training is the general (gross) preparation for technical sport-specific development.  Fencing technique being the biomechanical efficiency of the sport-specific moves and sequences.  Biomechanics is about examining and applying scientific principles to find the most efficient way to perform each sport-specific skill. Good technique is in the way you express yourself and performed each sport-specific skill in time with your opponent.  Learning fencing is about learning technique. Learning to compete is about learning to apply and express this technique in competitively stressful environments. Technique expressed with purpose are the fundamentals of good sport-specific tactics.

It is vital for the athlete to understand the biomechanical principles of each sport-specific fencing skill and to develop a biofeedback awareness of technically correct form and function. To this end, the serious fencer should consider investigating the Alexander Technique, as a transition between general physiological preparation and sport-specific technique.

Biomechanical considerations for correct form and function:

The En Garde Position:

►        Stability of joints – In the En Garde position the joints of the legs are aligned in a straight line (front leg: hip, knee and ankle joints in a straight plain or line with the knee vertically over the ankle joint and the rear leg: hip, knee and ankle joints are also in a straight line (knee over the toe). The most efficient way to gain stability is to align the joints of the legs (hip knee and ankle) in straight lines.    It is essential to good technique to establish a stable and balanced en-garde position.

►        Balance is the distribution of equilibrium.  For the body to change directions in motion efficiently requires the control of balanced equilibrium.  Maintaining balanced equilibrium during changes in direction (advances and retreats) as well as maintaining balance of the torso during the delivery and recovery of the lunge.

►        Continuity of joints is the utilization of the joints in the correct sport-specific order.  For example, a simple attack delivered with a lunge initially requires the joints of the fingers (to gain the priority) at the start, followed by the elbow joint (the further extension of the arm continuing the priority), then the toes lifting of the front foot to the straightening of the front knee joint while the rear hip, knee and finally ankle joints of the back leg are progressively activated.  If you screw up one part of the progressive order you screw up the entire action.  This is particularly important for fencing actions involving preparations of attack; preparing for counter-time and for establishing priority in sur la marche attacks. 

►        Alignment of joints – Accuracy and point control are achieved by aligning the joints along a straight line.   In fencing this applies to the joints of the arm (shoulder, elbow and wrist should all be in a straight line with the blade, and with the joints of the front leg (hip, knee and toes).   The tip of the weapon should form a straight trajectory to a point on the target.  Accuracy is more a result of correct continuity of joints. 

►        Timing and the Continuity of movement of the joints - One joint starts at the conclusion of another.  Movement that is smooth and continuous.  Not jerky or puppetry performance.  The joints of the arm start close to the body at the breast bone and continue to the shoulder, elbow and wrist to the small joints in the fingers while the joints in the legs start at the hip and continue to the knee, ankle and the small joints of the feet and toes.  This biomechanical principle relates to the sport-specific technique required of movement of the arms and legs.

►        Power of movement comes from the larger joints/muscle groups to the smaller joints/ muscle groups and from the joints closest to the body to the joints furthest from the body.  For example: the push of the back leg in a lunge starts from the gluteus maximus (hip joint) to the quadriceps (knee joint) to the gastrocnemious/calfs of the leg and to the plantar muscles of the foot (ankle joint).

Footwork can be analyzed with the use of a spotter.  A knowledgeable observer, trainer, coach or another fencer can comment and give you feedback as to the technical correctness of your footwork.  Initially, footwork should be practiced in slow motion and preferably in front of a mirror so that you can see as you feel these subtle changes as you develop a stronger and stronger kinesthetic awareness of your movement.

Videotape footwork, the individual lesson, some club fencing and competition bouting. You’re looking at the transfer of good technique from the lesson to the competition.   When using video for technique analysis you want to look at yourself outside of your body.  The camera angle should be to the side so that you can view the joints and bio-mechanically analyze your technique.   In contrast, tactical analysis should be from the fencer’s perspective, slightly behind and to one side.

Know the correct technique required for each move and sequence and then slowly perform them, repeating and repeating, progressively overloading by increasing the speed, until full performance speed has been achieved.  This final speed is only to the extent were the movement is performed completely in control. You do not want to reinforce fast but uncontrolled movement. Over time, this final speed will increase.

Technique develops proportionally with the extent of the kinesthetic awareness achieved by the fencer.   Reinforce this awareness under various conditions - i.e. after a footwork session and after a lesson in a controlled environment and after bouting in a competition environment.  Initially monitor your technique noting the biomechanics of each action.   Using a scale of 0-10  monitor performance immediately after footwork, after a lesson and after bouting at the conclusion of the session.  This can be done while stretching during warm-down.

Learn the sport-specifics in slow motion, controlling the hand and footwork co-ordination to the successful completion of each skill.   Bio-kinesthetically feel the correctness of the skill and maintain this control of the blade while coordinating fluid mobility of the feet.    You individually learn how each position and action feels and can control the speed and co-ordination of each skill.  In this way, the footwork is always behind the point - assisting its delivery.  All too often, the reverse occurs with the feet and body moving well before the point and hand.

Accurate repetition is the key to learning motor skills.   The more you accurately repeat and practice the skill, the quicker your body will accustom itself to this new motor pattern.  This is why, by mentally rehearsing the performance of the skill, you are specifically practicing the action and thus make the learning of the skill that much quicker.

Learn all the skill.   It is important to know and understand all and everything about the skill. 

WHY?             ▪ The purpose or intent of the action.

HOW?            ▪ The biomechanics, co-ordination and timing of the action, and

WHEN?          ▪ The timing when to perform the action.

The skills may be taught in the lesson, but are only really learnt and experienced in the fencing bout.  The transfer of these skills to their practical application is what you monitor.

The timing of the skill and the skill itself must be primarily unconscious responses.  To assist developing this state, it is important to focus your thought and attention.  For example by maintaining distance.

By centrally concentrating on distance, you force peripheral thought to be utilized in unconscious responses to the sport-specific cues of fencing  (when to feint & attack and when to parry & riposte)  Both peripheral-vision and peripheral-thought, being  more relaxed forms, are better suited to the movement and timing of the skill.  By doing this, you are creating an ideal performance environment for skilled performance to occur.   What all this means is that when you fence a bout it is imperative that you concentrate and focus on fencing distance.  This will allow for better timing of the sport-specific technique to occur.

Timing is the application of the skill in relation to the sport specific cues.   These cues occur while either maintaining and fighting for the control of distance, or with the opponent’s blade work.  The timing of the action lies in accurately performing the move in relation to the cue.  Not anticipating or slightly after it has taken place but as it occurs.  Control of the co-ordination of the skill is the difficulty.

Initially instruction should consume a large percentage of time, learning and reinforcing the skills, which are vital to successfully playing the game.   Be prepared to take 2-3 lessons/week for 2-3 seasons.  As these skills become almost second nature, their application in the bouting situation becomes more essential.   The number of lessons decreases as the time spent applying the skills in a bouting environment increases.  

Complete technical control of the skill expressed and applied, appropriate to the situation and timed perfectly in relation to the opponent.   This training can only be monitored and reinforced during sport-specific bouting.   At this stage 1-2 lessons/week for the next 2-3 years may be all that is required.

Motor-skill is the pattern of movements that enables the performer to accomplish a task.   Motor-skill is goal oriented, that is the pattern of movement comprising the action is directed towards the achievement of a specific goal.  Competent performers focus their attention on goals and the necessary cues for action, not upon the action itself.  Skilled performance is largely subconscious.  To access the sport-specific skills of attack and defence your concentration must be on the distance and movement of your opponent.

When a musician starts thinking about the complex biomechanics involved, the music stops.  The fine-motor coordination that comprises superior skill is disrupted by conscious efforts to regulate the action, normally subconsciously controlled.  

A note to Coaches: It is easy to tell a student what they are doing wrong - it is what they should be trying to do right that should be reinforced.

EN-GARDE POSITION

Feet are at right angles.

Distance between feet is shoulder width.

Torso is balanced with weight distributed between the legs.

Feeling of stability and balance. 

Front knee is over the instep of the front foot and all the joints (ankle, knee, hip) are in a straight line/plain. 

Back knee is over the back toe and all the joints (ankle, knee, hip) are in a straight line/plain.

LUNGE POSITION

The lunge starts from the point - pulling the elbow straight

then come the toes of the front foot reaching forward (lands heel first).  

The action flows continuously from one joint to the next in a smooth and continuous progression.  Front knee over or slightly behind the heel of the foot.      

Body remains in the en-garde position, vertical and balanced between the legs.

The back leg is straight (knee joint) and the foot flat on the ground. 

The return to guard is a coordinated effort of straightening and pushing off the heel of the front foot as you pull back and bend the knee of the ear leg.        

Movement feels smooth and fluid.  Effortless.  Similar feelings of the en-garde position accompany the conclusion of the lunge.        

FOOTWORK

Mobility is the movement between the en-garde and the lunge positions. 

It must feel smooth and fluid and remain balanced.

Forward movement starts with the toe of the front foot. 

Retreats start simultaneously pushing from the heel of the front foot while reaching back with the rear foot. 

Each smooth and continuous action is one period of fencing time.  It has a distinct start and finish.  Learn in slow motion and often with eyes closed.  Practice to various music time values.

Cue words:  think smooth, continuous, fluid, balanced, etc.

Thought and awareness should be towards the sequence of neuromuscular firings.

DISTANCE FENCING

Purpose:  Distance awareness and Timing of when to attack.  

The co-ordination is always point first, then elbow, then body.  

The touch feels exactly that - a touch, not a punch or a poke. 

Touch only to the distance.

Distinguish between the various distances:  extending the elbow to touch (ripostes), having to advance to touch (ripostes) and having to lunge (attacks).

The cues to attack come from distance:

(i)   as the fencer starts to move forward and

(ii) before recovering from their lunge attack.

PARRY RIPOSTES

The movement of the parry comes from the point first. 

The action moves only to the parry position - no further. 

Think control. 

Parry at the very last moment. 

Keep distance and parry only the final attack. 

Ignore their blade feints and preparations. Focus on the target. 

The parry is the preparation for the riposte so the finish of the parry is the starting position for the riposte. 

The guard deflects just enough to silhouette your target and the point is over their shoulder ready for the riposte. 

Focus on the target and touch that spot.

FEINT DECEPTION ATTACKS

Provocation: 

The point threatens the target.  Think threat.  Time the feint exactly in relation to the opponent’s blade and/or movement.  

Focus on the target.  Point feels expressive but the arm is relaxed in its extension.   The elbow must not lock.  The point leads the action.  Think point and threat. The point threatens a specific spot on the target.  Think  - threat! (deception) - threat!  (deception) - threat ! 

The point continually threatens and their blade responds to the point.  Must continually keep focus on the target away from their blade.

Deception:  

Date Last Modified: 11 Oct 2011