“What's in a name? That which we call a rose By any other name would smell as sweet ...” (Romeo & Juliet, II.i)
Much has changed since this book was first published, and yet there is still no “International” or common language within the art. This is due in part to the fact that we deal with an artform and not absolutes. Much like the schools and masters of fence of old, today’s choreographers, teachers and artists vary their techniques according to their training, discipline, and personal preference. Historical reading and research play a part, but depending on the period, style, country and master being studied, there is as much variance in the ancient art as there is today.
Through the evolution of armed and unarmed physical conflict, many expressions and terms have been coined, translated, abridged, bastardized, discarded or have completely changed in meaning since their origin. Historical swordplay and sport fencing are based on strategy and the intent to hit or physically influence an opponent and staged swordplay is based on theatricality, dramatic effectiveness and safety. Because of this, the historical and tactical definitions of many techniques now used in the theatre and motion picture industry have been adapted over the years to represent a presentational technique rather than the technique itself. Such incongruity can be confusing to the purest, or the student of a particular discipline. For the purposes of this book, however, certain terms and definitions have been set, in spite of some discrepancies in meaning, in an attempt to establish continuity of content.
This does not mean that the terms used in Actors On Guard are “right” and others are “wrong,” these term are only “right” for this manuscript and reflect a common language, but not the only viable language for rapier and dagger technique. Each person’s training, background and memory will often determine the foundation of their vocabulary. The vocabulary in this book is initially based off of that of the Society of American Fight Directors, where my training began. It is blended with the historical, the practical and the theatrical, peppered with personal preference and varying amounts of artistic license.
aborting an attack. The act of bringing an attack to a premature end due to a mistake, improper or unexpected reaction, a counter attack or any other such situation. For an attack to be aborted, the discontinuing of the attack cannot be premeditated. The choice to quit must take place in the moment, based on something that happens after the attack has been initiated.
absence of blade. A state in which the sword blades are not in contact. See free.
abstraction. The process of reducing a fight sequence, style or form down to its most essential characteristics.
academic combat. A mechanical, technically correct fight, performed move-for-move with little or no acting intent.
accent. Stressing of one particular action, move or sequence, either greater or lesser than previous actions.
accessory feints. A false or trick attack made with a piece of wardrobe or prop (e.g. pretending to swing a scabbard or cane, threatening to toss a hat or cloak, etc.). See also feint attack.
accessory. A costume piece, prop or other object which can be added to a fight.
acquired measure. The practice of finding proper distance during the execution of technique. Not dependent on the distance at which the sequence starts, it is the process of finding proper measure at the completion of the sequence.
acquired parry. Another name for the circular or counter parry, reflecting the practice necessary to master the action.
across-body blade traffic. See crossbody blade traffic.
across. (also crossbody) Any guard position that has the weapon’s blade directed across the body. Opposite of direct.
acted percussion. The illusion of force and rebound where two bodies/objects collide with much less force than it appears. The “physics” of the impact is created by the actor(s) involved.
action prop double. A prop made to look like the actual action prop, resembling it enough to serve as a substitute for specific pieces of business.
action prop. a.) Any Prop designed to be safely used by an actor and/or stunt performer while executing action. b.) A prop specifically designed and built to safely sustain repeated use in a specific action, or series of actions. Swords with tempered steel and high-tensile aluminum blades would be considered real action props. Swords constructed of certain woods, rubbers and plastics would be considered a dummy or action prop double.
Action-Reaction-Completion. See ARC.
action. The initiating event in the beginning of ARC technique. The primary action is generally broken down into chambering, cue and control point. These are often called the three-C’s of the primary action.
actions. a.) The specific things an actor can do, within the context of the scene and choreography, to bring the fight to life. See tactics. b.) Simple, compound, progressive, or combined movements of the blade and/or body used to accomplish the combatant’s objectives within a fight.
active dagger-hand. (also active dagger) The act of consciously activating and employing the dagger-hand to maintain the sense of danger, support character, context and the primary action of the working weapon.
active footwork. (also traveling) A process of amplifying the distance a piece of footwork covers to help create dynamics within a fight. See dynamic footwork.
active hand. a.) The act of consciously activating and employing the unarmed-hand to maintain the sense of danger, support character and context. b.) The working hand. See working.
active movement. Any movement executed in a more dynamic and/or amplified fashion.
actor’s parry. A large sweeping circular parry 2, so called because the move is dynamically impressive.
advance-lunge. See patinando.
advance. (also fencing step forward) Footwork that carries the body forward by moving the lead foot first, followed by the lag foot (without them crossing). The opposite of retreat.
after-cut. A cut on the riposte. See riposte.
aids. (also last fingers) The last
AIMING. An acronym used for the steps in making a safe block with the hand and/or arm: block outward Away from your center, block without any actual Impact, block with Muscle not bone, blocks Intercept attacks, block Near your body and blocks should properly Guard the intended target.
air. The visible gap between a non-contact blow and its supposed target.
all-in-one corps-a-corps.A double fence corps-a-corps where both engagements are made at rapier measure and then brought in and to the-hilts.
alternate five (5A), parry of. See five (5) A, parry of.
alto. (It.) Literally “high.” Used in reference to the target at the upper part of the opponent’s body; at the shoulder or chest level.
aluminum blade. A sword blade made of aluminum. Generally, such blades have a high tensile strength, which allows them to withstand the stress of repeated blade-play. See high tensile aluminum.
Angelo’s disarm. A secured disarm often attributed to eighteenth-century fencing master Domenico Angelo, but introduced earlier by George Silver. See wrap-n-trap.
angled parry. A traditional parry taken out of its vertical or horizontal plane to accommodate style (such as single sword) or an attack to the intended target made in a different plane (such as an angled parry 3 made against a rising diagonal cut to the weapon-bearing shoulder). Differing from that of the right parry.
ANKLES: An acronym for the primary aspects of safe and repeatable foot slashes and their evasions (ARC, Nuance, Knees-up, Landing, Eye/Eye contact, Setting/Situation).
answer. a.) A riposte. b.) To meet an aggressor in a fight; to return a hostile action.
answering beat. See return beat.
appel. A stamping or slapping of the floor with the sole of the lead foot, generally executed immediately before an attack or feint with the blade, often accompanied by a loud shout.
ARC (Action-Reaction-Completion). The specific stages of movement that clarify the beginning, middle and end of a technique. The first action is the cue and control point for the event. The reaction is the established response to the initiating action. The completion of the technique brings all the components together, concluding the technique.
arc. See story arc.
armpit kill a.) A cliché “kill” seen in bad stage fights where the blade is laid under the Respondent’s arm and cradled in their armpit. b.) A kill, like a boar’s thrust, delivered upward under the Respondent’s arm and appearing to pierce the chest.
arms of the hilt. See pas d’ane.
around the clock. A pattern for cutting attacks that practices same side blade traffic by working the attacks around the established body targets in either a clockwise or counter-clockwise direction.
around-body blade traffic. Blade movement that generally carries the sword above or behind the body, from one side to the other. When the blade is carried above the head it is referred to as a high-line molinello and behind the back a stage-safe molinello.
arranger. See fight arranger.
articulation of movement. To form or fit individual actions into a systematic whole while maintaining the clarity of their individual purpose.
assembly. a.) A high-line corps-a-corps, with all four weapons over the heads and to the-hilts. b.) Any corps-a-corps where the body’s come together in the close.
assist. (also free hand assist) The use of the free hand in conjunction with the sword and/or sword-hand for both offensive and defensive techniques. Although an assist is a free hand technique used in conjunction with a sword-hand technique, it is not a double-hand technique.
assisted heavy parry. The action of a parry, joined by a second weapon into a heavy parry; both weapons taking the opposing blade to the floor.
asymmetry. A lack of proportion or balance in time, space or energy, opposed to conventional balance.
attack into the attack. To attack one’s opponent as they are attacking. See counter attack.
attack on preparation. An offense that is made as the opponent prepares their attack, whether the preparation is made with the sword or footwork, separately or together.
attack on the blade. (also attack of force) Actions used to remove or displace the opposing blade before an effective offensive action can be launched. Attacks on the blade are generally broken into three major categories, beats, pressures, and flowing. Beats utilize shock to laterally remove the opposing blade. Pressures apply lateral force and flowing attacks use a sliding or grazing action down the opposing blade in order to displace it. Additionally, there is the prise de fer or “taking of the blade.” These are attacks of the blade that catch the opposing blade, master it, and hold it or remove it in some way.
attack. a.) A simple or compound offensive action. b.) An assault.
attempted parry. a.) One of four basic reactions to the perceived offensive action of a feint attack where a parry is executed as a means of protection from the threatening movement. b.) A somewhat exaggerated defensive action made against a feint attack, the parry extended slightly forward and a couple inches wider than successful parries.
attempted pommel punch. (also attempted pommel attack and blocked pommel punch) A choreographic technique that has the offensive action of a pommel or hilt attack apparently stopped by the other combatant prior to reaching its goal. The offensive technique of a blocked pommel attack.
audio plot. See soundscape.
Australian coupé. A theatrical form of the cutover, made "down under." A coupé that carries the blade down and around a blade with its point directed downward (such as prima or parry 2).
autre quinte. (Fr.) The angled defensive action of the sword used in single sword against a slight diagonal cut to the head, placing the hilt and sword-hand on the inside (non-weapon-bearing side of the body). The parry serves as an alternate to quinte. See five (5) A, parry of.
avancés. (Fr.) The targets of one’s opponent nearest to you; the sword arm and lead leg.
avantage. (Fr.) The slight bow or bend in the foible of a fencing blade which “trains” the blade to give on a hit rather than pierce.
avoid back.Any evasive action that removes the body backward away from the attack. It may be executed stationary, rocking backward to avoid the attack. See also lunge back avoid, passing avoid back, retreat back avoid and rock back avoid.
avoid. (also evasion) One of four basic reactions to the perceived offensive action of a feint attack where the combatant removes themselves from the threat with some form of evasive action.
avoidance. (also evasive action) A movement of the body and/or feet designed to dodge an attack. An avoidance is generally made by distance and/or displacement.