| As we discussed in the previous lessons, the | | | | the toes of the front foot off floor, kick the foot |
| fencing stance is intregal to the success of the | | | | forward from the knee (without lifting the knee |
| fencer. Placing the body in the best compromise | | | | or the hip) until the leg is nearly straight, plant the |
| between comfort and effectiveness is essential | | | | heel again (which causes the body to move |
| for minimizing the target area while allowing for | | | | forward) and then allow the toes to roll back |
| freedom to advance and retreat. It is the | | | | down to the floor. The rear foot should be lifted |
| advance and retreat, which we are going to | | | | at the knee, brought forward until the feet are |
| discuss today. | | | | again about shoulder width apart and planted |
| Movement up and down the strip is what controls | | | | firmly back to the ground with a light stomp. You |
| the bout. We talked in the last lesson about | | | | should end in exactly the same position you were |
| fencing distance. Fencing distance is the optimal | | | | in before the step, one step further down the |
| distance a fencer attempts to maintain from his | | | | strip. This seems like a difficult and detailed way |
| her opponent, where they are close enough to | | | | to say “take a stepâ€, |
| launch a successful attack, and yet far enough | | | | however this process is more important than it |
| away to defend or outdistance an opposing | | | | seems. |
| attack. This distance usually falls around one and a | | | | Stance (Slightly too far forward.) The Step (Note |
| half blade lengths from the opponent and the | | | | that shoulders remain level throughout step.) One |
| obvious fallacy of it should jump immediately to | | | | of the goals to advancing and retreating is to |
| mind. With all but the most mis-matched fencers | | | | maintain as much solid contact with the ground |
| (in the area of height and reach) once a fencer | | | | for as long as possible. A primary factor in the |
| has moved close enough to attack, he/she has | | | | constant jockeying for position is how suddenly |
| also moved close enough to be attacked. So how | | | | the need to advance can turn into the need for |
| does one maintain “fencing | | | | retreat. Being caught with one foot off the |
| distance?†The answer is dynamically, | | | | ground, off balance, when your opponent |
| by moving into and out of attack distance as | | | | suddenly lunges makes it difficult to distance |
| your strategy requires. | | | | yourself from the attack forcing you to |
| This constant changing of the distance, forward | | | | completely depend on the parry. If the parry fails, |
| and back is, perhaps, the greatest single offensive | | | | you lose. Regardless of the success of the parry, |
| and defensive tool. Each fencer attempts to | | | | a riposte' would be difficult without retreating. |
| maintain distance to his or her advantage while | | | | This step allows for the foot to be off the ground |
| maintaining sync with their strategy’s | | | | for the minimum amount of time. The kicking |
| timing. A properly timed advance will add speed | | | | forward motion holds a secret as well. Next time |
| and surprise to an attack, whereas an | | | | you are at the mall, watch how people walk. The |
| appropriately timed retreat will devastate the best | | | | relaxed walking we do in our day-to-day errands |
| executed counter attack by simply causing it to | | | | is really more of a controlled fall. We thrust our |
| fall short of the target. | | | | weight forward, and catch ourselves in a sort of |
| If any of you have taken the opportunity to visit | | | | loping action. |
| the “Fencing Footage†site | | | | This is terrible for fencing on two levels. First, if |
| listed with the links, you will see that movement is | | | | during the falling forward portion of the step your |
| the vital part of attack and defense. You will also | | | | opponent, again, lunges you are left with little |
| see on this site, unfortunately, people advancing | | | | option as well as being completely off balance. |
| and retreating in manners completely | | | | This can be enough to ruin a retreat and a parry. |
| contradictory to this article, which stands to | | | | Second, the loping motion brings your target off |
| emphasize the two laws of any athletic | | | | defense from your arm. Each bounce up opens |
| training… 1. Master proper form first. | | | | your lower torso to attack and each bounce |
| 2. Do whatever it takes to score the point (within | | | | down opens the upper torso. As it is relatively |
| the rules of the game and sportsmanship) | | | | easy to predict which part of the body will open |
| including ignoring rule number one. | | | | up as you are loping down into the step, it |
| The moral of these rules are, of course, that | | | | creates a perfect opportunity for an attack. |
| without proper form it is impossible to generate | | | | The step we have created here will keep the |
| the foundation from which one may take | | | | body level and balanced. Although, it is necessary |
| ‘artistic license.’ The basics of | | | | to come slightly off balance, simply to remove |
| advancing and retreating in a controlled, balanced | | | | the forward foot from the floor, the motion is |
| manner is key to controlling your timing, and | | | | subtle, fast and low which allows for balance to be |
| ruining the timing of your opponent. | | | | immediately recovered the instant the forward |
| When I was instructing, I preferred to have my | | | | foot is again dropped to the floor regardless of at |
| students drill in the advance and retreat for | | | | what point during the step it is dropped. This |
| weeks before even allowing them a foil. | | | | allows for an advance to be reversed instantly |
| As we recall, the basic stance is obtained as | | | | into a retreat (and vice versa again) if necessary. |
| follows… 1. Stand straight, facing forward, | | | | Remember, the step is performed from the |
| with both feet together at the heels. | | | | knees and not the hip as when walking normally. |
| 2. Rotate the left foot (if you are right-handed. | | | | The peeling of the foot off the floor, and the |
| Reverse this if you are left-handed) to a | | | | rolling return are important as well, however |
| 90-degree position relative to the right foot. The | | | | mostly for safety. As you master the advance |
| heels should still be touching. | | | | and the retreat, you will begin moving up and |
| 3. With the right, or forward foot, step forward | | | | down the length of the strip at surprising speeds. |
| until the feet are about shoulder width apart. This | | | | This peeling is vital to keeping the toe from |
| change will automatically turn the body to the side. | | | | inadvertently catching the floor. At these speeds, |
| The feet are still at right angles. | | | | and in the middle of a bout, there is nothing more |
| 4. Bend at the knees equally (as if you were | | | | frustrating and dangerous than a full speed face |
| squatting down), until the knees are directly above | | | | plant. Not to mention that if the fall is onto your |
| the toes. This is where the really sore muscles | | | | opponent, you will lose the point and perhaps the |
| come from, but is the imperative part of the | | | | bout. |
| stance from which the movement is generated. | | | | The retreat is very similar, however reversed. To |
| Now, the compromise. Your body should have | | | | step back, the rear foot is lifted slightly at the |
| naturally turned to face in the direction the rear | | | | knee (again there should be little or no raise in the |
| foot is pointing. This turn slims your target from | | | | hip) kicked back and placed to the ground again. |
| the view of your opponent, making it harder to | | | | The body is then pulled back by the rear foot as |
| hit. You wish to turn as much as possible | | | | the front foot is “peeled, placed and |
| (slimming the target as much as possible) without | | | | rolled†as before and then balance is |
| the stance becoming awkward, or causing the | | | | centered between both feet again. The front foot |
| forward knee to move off-line from over the | | | | should be peeled from the toe, placed on the heel |
| toe. The amount of this turn will vary from | | | | and rolled to the toe just as in the |
| competitor to competitor. You will need to | | | | advance…not reversed. One of the |
| experiment to find your position. At this point, | | | | secrets to the rear step (as well as the last part |
| your body should be balanced between your feet | | | | of the advance step) is that the rear foot should |
| such that a straight line drawn from the tip of | | | | be lifted as a single unit and placed as a single unit, |
| your nose, through the center of the groin, will fall | | | | with almost a stomp. You do not want to lift |
| exactly equidistant between your feet. Keep the | | | | either the toes or heel first on the rear foot, but |
| back straight and avoid hunching or sticking the | | | | rather the entire foot. The rear foot is your |
| buttocks out. | | | | anchor. It is where the strength and push for |
| 5. With the knees bent and the body turned, turn | | | | your attacks come from and it is the pull which |
| your face to look at your opponent and raise | | | | allows for a quick retreat and recovery from |
| your forward (or sword) arm towards your | | | | lunges. |
| opponent. The arm will remain bent at the elbow | | | | This foot needs to be as firmly attached to the |
| and straight at the wrist, and should form a | | | | ground, and as often, as possible. |
| 90-degree angle at the elbow. The elbow should | | | | That is simply (and I DO use the term loosely) |
| be about one fist’s length from the | | | | the whole of it. What is hard is the mastery. |
| body and the hand (or point of the blade) should | | | | Aside from the tired, shaky feeling most of you |
| be pointing at the eyes of the opponent. | | | | are probably having in your thigh muscles right |
| 6. The rear arm’s position will vary | | | | now (this is fantastic for the glutes, by the way) |
| depending on the weapon, however the basic | | | | the step must be practiced religiously to maintain |
| stance (based on foil) will curl up behind the head | | | | speed, balance, anchor and smoothness. The body |
| for balance. To do this, point the rear arm exactly | | | | must not bounce when steps, forward or back, |
| away from the opponent, level with the shoulder. | | | | are taken. One of the drills I have my students |
| Bend the arm at the elbow so there is a | | | | practice is to fill a bowl of water and carry it in |
| 90-degree bend and then allow the hand to fall | | | | the forward hand instead of a sword. |
| relaxed. This relaxation is also necessary for | | | | The student then advances to the end of the |
| balance and speed. | | | | strip, and retreats to the other end of the strip |
| This basic stance provides an easily defendable | | | | without spilling the water and, eventually, without |
| position with a minimum of target showing, opens | | | | allowing it to ripple. The graduation from this |
| the lungs for good respiration and allows for a | | | | exercise is to be able to advance and retreat at |
| relaxed position to advance and retreat. The | | | | full speed with the water brimming above the |
| balance should be dead center between the feet, | | | | edge of the bowl and not spill a drop. Just as a |
| with weight equally on both feet. | | | | word of encouragement, the |
| If this feels uncomfortable, wait till we start | | | | “graduation†from this drill |
| moving. Most beginning fencers discover muscles | | | | usually takes 15 or twenty years. Try it. At |
| they never knew existed. | | | | minimum your will get the best leg workout of |
| The forward movement is relatively simple. Peel | | | | your life. |