Fencing is a sport with edged weapons: a detailed overview. Fencing - rules A collection of knowledge about fencing

"Fencing is the art of throwing blows without getting hit."
Moliere

Fencing is one of the most ancient sports. Even in Ancient Greece, fencing was a mandatory part of the Olympic program. In the Middle Ages, it became a separate discipline, which was studied at school at the king’s court. Let's figure out what types of fencing there are, and what benefits this sport brings to the body.

Directions in fencing

Today, fencing has begun to be divided into several areas: historical, stage, sports and combat.

Historical (sword fighting)– appeared not so long ago, but quickly became popular. Despite the fact that it is quite traumatic, many fans of this sport have appeared. Historical and social movements are based solely on enthusiasm, as are competitions.

Stage- a mandatory program in theater schools and universities, since future actors need to learn how to master edged weapons well in order to participate in the filming of martial arts using swords, swords, knives, etc.

Combat– as a rule, they are interested in adults who already know some type of martial arts and want to perfectly study the technique of using sticks and knives in combat.

Sports– the most common and healthy direction. This speed-strength sport is suitable for children from 8 years old. It is at this age that the tactical thinking and reactions necessary for fencing begin to develop. If these qualities are present, you can start training.

The uniqueness of fencing is that thanks to regular exercises, absolutely all muscle groups are trained, there is a positive tonic effect on the entire body, reaction speed, coordination, speed, agility, endurance and intelligence are developed.

“Fencing is a versatile sport; exercises have a positive effect on the respiratory and cardiovascular systems. During fencing, your entire body works, without exception. Our sport involves both cyclical and dynamic work, which helps you lose extra pounds and makes your figure fit. As a professional athlete, I weighed myself before and after one of my workouts. It turned out that I lost 2.8 kilograms. It was an intense training, but still,” says Anton Pakhotin, master of sports in fencing, former member of the Moldavian fencing team.

By and large, fencing is a non-contact type of martial arts, because the athlete needs not only to prepare physically, master the technique of movements well, but also psychologically prepare himself to achieve good results, to win the competition, learn to react instantly and make decisions. At the same time, mistakes are quite possible here, but unlike other martial arts, without serious consequences for health.

If an adult does not need serious results, competitions and medals, and the desire to hold a sword in his hand has been pursued since the first viewing of the film about the three musketeers, then, in principle, age does not play any role. The category of “amateurs” accepts everyone without exception, the main thing is that there should be no health problems.

If the goal of training is to achieve results in this sport, then it is better to start training professionally from 8 to 10 years old. At this age, there are all the prerequisites for becoming, if not a champion in fencing, then at least a “chess player with muscles” - that’s what fencers are called.

“As in any other business, to start practicing, you first need a desire. Fencing does not require ideal physical preparation; absolutely everyone can practice it - naturally, if there are no certain restrictions from the doctor. There is a known case where a woman was still engaged in fencing at the age of 96,” says Anton Pakhotin.

In a fencing match, the qualities inherent in chess players are developed: control of emotions, logic, calculation, forecasting the situation, and the ability to make decisions. From the point of view of physical sports, one can note good indicators in the development of the body and strength, immediate reaction, ability to defend and attack.

If you don't know what sport to choose for your child, consider enrolling him in fencing. It is here that he will be able to develop both physically and morally, and there is no question of the ability to stand up for himself - someone who wields a sword will be able to protect himself and his loved ones with any available means, even a teaspoon, and will emerge victorious in any situation.

For a beginner, at first it will be enough to have only your own glove (the coach will give you everything else). But in the future you will have to purchase a suit (a suit with a glove will cost about $40).

Since this sport involves quite serious loads on the entire body, before you go to sign up for the section, you should consult your doctor.

The legs that suffer the most from stress are the Achilles, knees, and calf muscles. The lumbar region will also be under constant tension, because... The back muscles work almost continuously during training. Therefore, if you have had any injuries or diseases related to these parts of the body, it is better to refrain from fencing to avoid risking your health.

In the 14th - 15th centuries, during the era of the dominance of the long sword as the main discipline of the art of fencing, German masters held primacy in its teaching and development. But with the advent of the rapier in the first half of the 16th century, the scales tipped towards the Italians.

All the authors who wrote about fencing in the 16th century are distinguished by one interesting feature - although they constantly use the word “defense,” they do not define any defense (until the 18th century there was no classification of defenses). The masters of that era based their practice on the principle that any attack that could not be repelled by a shield, cloak or dagger must be met with a counterattack or evaded by moving the body.

Italian fencing school

Marozzo represents the first popular Italian author to write about the art of fencing. Judging by the numerous reprints of his works, five of which were published between 1536 and 1615, he enjoyed a good reputation, even at a time when the system of fencing he described was quite outdated.

Marozzo's work is a detailed description of a fencing system that was popular even before the primacy of the thrust over the blow was elevated to a principle.

Marozzo divided all types of blows into piercing and chopping and made the following differentiation in them:

• Slashes:
  • mandritti(singular "mandritto"), so called because they are struck from the right (dritto) side of the fencer with the aim of hitting the opponent's left side;
  • manroversi, or simply roversi (singular "roverso"), are applied on the other side (i.e. on the left).

  Slashes made with the front blade:

  • fendente- cut vertically from top to bottom;
  • sgualembro- cut diagonally from the shoulder to the opposite side;
  • tondo or traverso, which cut along a horizontal line;
  • ridoppio- a diagonal strike from the side to the opposite shoulder.

  Slashes performed with the rear blade:

  • tondi;
  • ridoppi will become falso dritto(left side - right shoulder) and falso manco(right side - left shoulder);
  • montante- vertical blow from bottom to top.


• There are four types of piercing blows:
  • punta drita or just punta, performed with the hand in the incoming stance position;
  • punta roversa- hand in the Facial Stance position;
  • imbroccata, or overhead thrust, usually performed in the Becca Cesa or Possa positions;
  • stoccata, or underarm thrust, is usually performed with the arm in the High Iron Door position.

Marozzo also described in detail 15 possible stances (for Marrozo, stances have little to do with what we now call this word), and if you combine them with blows, you can conclude that the fencing system of the first half of the 16th century was reduced to moving between stances, to take a position relative to the enemy that would make it possible to strike in any way.

Seventeen years after the first publication of the Marozzo fencing system, a magnificent work on fencing was published in Rome - “Treatise on the Science of Weapons with Philosophical Dialogue” by the Milanese Camillo Agripa, which made a real revolution in the art of fencing.

As an engineer, Agrippa was interested in the combinations of movements performed by parts of the body when delivering injections and blows. To describe them, he used his extensive knowledge of geometry and mathematics, and ultimately came to the conclusion that in most cases a thrust is more advantageous than a blow, since the line connecting the tip of the sword and the target, when thrusting, is straight and therefore has a shorter length than the circular arc described by the tip upon impact.

Agrippa, being a talented engineer, had a scientific interest in fencing and, noticing significant errors in popular fencing styles, invented a much simpler system.

Firstly, Agrippa abandoned the numerous and largely useless racks connected to each other in the most artificial way. He postulated that any stance where the left leg is pointed forward and the sword is in the right hand opens up the fencer too much. Secondly, he began to insist on the clear advantage of a thrust over a blow, since a thrust requires less force and time, and is more difficult to parry.

As a consequence of these remarks, Agrippa reduced the number of useful stances to four and gave them numerical names: prima, seconda, terza and quarta.

Destreza

While the Italians, and then, having seized their initiative, the French, realized that simplification of the fencing system leads to perfection, the Spanish masters turned fencing into a very complex and intricate “science”, requiring knowledge of geometry and natural philosophy for practical application. The Spanish system of riding rapiers (in a broader sense and any other bladed weapon) received the name - Destreza(Spanish: La Destreza), which literally means “mastery.”

Carranza, who completed his first written work in 1569 and came into wide circulation by 1582, can be considered the founder of destrezia, the principles of which were based on the mathematical relationship of angles and arcs, tangents and chords. In the 17th century, Carranza’s teaching was continued and developed by another Spanish master, Luis Pacheco de Narvaez; in fact, it was his works, or the works of other authors, but based on the work of de Narvaez, that make up the entire Spanish literature on fencing of the 17th century. Beyond the territory of the Iberian Peninsula, the principles of destrezia were “preached” by Girard Thibault from Antwerp, known for his work “The Academy of the Blade”.

All principles of destreza are based on movements within an imaginary (mystical) circle drawn on the ground - circonferencia imaginta entre los cuerpos contrarios(translated from Spanish - an imaginary circle between the bodies of opponents).

An imaginary circle between the bodies of opponents

In a fighting stance (the torso is straightened, but so that the heart is not directly in front of the opponent’s sword; the right arm is extended straight, the legs are spread wide...) the opponents should be at opposite ends of the diameter of this circle, the length of which is equal to the length of the arm with the horizontally extended sword . Opponents can move relative to each other, along diametrically opposite tangents. Opponents can take steps inside this circle, moving along its fictitious chords, and find themselves “inside the range” at striking distance. Thus, any move made by one of the fencers can lead to the following results:

• the opponent takes a corresponding step around the circle, so that they remain at opposite ends of the diameter and nothing changes;
• the opponent strikes while taking a step;
• the opponent gets hit if he misses the "moment".

The main purpose of the move is to put the enemy at a defensive disadvantage.

From the general concept of destreza, we can conclude that the lunge was not even in its infancy, and the whole tactic consisted of advancing in short steps at right angles to the diameter, constantly threatening the enemy with the tip of the blade.

Particular attention in destrez is paid to blows; they are divided into the following types:

• arrebatar - blow from the shoulder;
• mediotajo - blow from the elbow;
• mandoble - blow from the wrist (light blow with the tip).

In his books, Narvaez also writes about the correct proportions of the sword. Its length should be proportional to the person’s height (Capo Ferro stated that the sword should be twice as long as the arm).

Thibault, in order to link the proportions of the sword with the mystical circle, decrees that the length of the weapon should be equal to the radius of the circle, so that if the sword is placed strictly vertically between the legs, the cross should be at the level of the navel.

Despite the fact that learning destrese has long been a complex and intricate process, this fencing system existed in Spain at the beginning of the 18th century, and Spanish fencers enjoyed a reputation as very dangerous and experienced fighters.

Noble, beautiful, intellectual, theatrical, psychological, romantic - in a word, the best sport. Children understand this best of all.

Fencing is one of the types of martial arts in which sports weapons are used. The ability to wield a weapon allows you to equalize the strengths of people of different physical fitness and build.

In fencing, the decisive factor in victory is the ability to think outside the box and the ability to navigate a rapidly changing situation. During the fight, the fencer instantly makes many independent decisions.

Fencing teaches you to control your emotions, forces the impulsive and hot-tempered to pull themselves together, and the shy and reserved to take certain risks that are difficult to take in everyday life.

Fencing is a creative sport that allows the individual to develop freely. There are no ready-made recipes in it. There are only notes, and the music is composed by the athlete himself.

The high emotional background of training makes it easy to endure physical activity, thereby developing both special and general performance.

Politeness, gallantry, respect for the enemy - this is a manner of behavior that fencing cultivates and supports, thanks to its inherent rituals of conducting fights. Before the start of the fight, fencers salute with their weapons, greeting the spectators, the judge and the opponent. And after the end of the fight there must be a handshake.

Fencing is an ancient sport. Through the centuries, romanticism, inspired by the nobility of the heroes of the works of Alexandre Dumas, and the best knightly traditions have reached us.

Fencing is a huge, interesting world. Opening it, you understand that it completely absorbs you, it is no longer possible to part with it - and it remains with you forever.

Fencing is the ability to inflict thrusts through attacks and defenses at certain points in the fight, using one's intelligence. A fencing match is very similar to a battle: it involves maneuvering, reconnaissance and camouflage, attack and defense.

In modern sports fencing there are three types of weapons - rapier, epee and saber. The differences between them are in the judging rules and the size of the affected surface

The weapon consists of a flexible steel blade with a tip, a guard with a soft pad, a handle and a nut.

The rapier blade has a tetrahedral cross-section, thinned towards the end, no more than 90 cm in length, the guard diameter is from 9.5 to 12 cm. The length of the assembled rapier is no more than 110 cm and the weight is no more than 500 g.

The rapier is a piercing sporting weapon. Unlike other types of weapons, the rapier player's target surface is the smallest - the torso and neck. In the rules of foil fencing there is a priority, i.e. "tactical correctness" When giving an injection, you must have priority. For example, a rapier player has priority in attack. The opponent must first take the defense and only then will he have priority to retaliate. If the attacks are performed simultaneously, then the thrusts inflicted do not count.

A sword is also a piercing sporting weapon. The sword blade is more massive than the rapier blade and has a triangular cross-section. The total length of the sword is no more than 110 cm and the weight is no more than 770 g. The diameter of the guard is 13.5 cm. Epee fencers have the largest target surface for injection: almost the entire body from head to toe - torso, arms, legs, head. In sword fighting there is no factor of tactical correctness, i.e. Simultaneously inflicted injections are counted towards both opponents.

The saber has a triangular blade, the length of which is no more than 88 cm. The maximum length of the saber is 105 cm, weight no more than 500 g.

In fencing combat with sabers, it is allowed to deliver both chopping blows and thrusts. The affected surface is the head, arms and torso up to the waist line. In saber fencing, as in rapier fencing, the decisive factor in awarding a hit is “tactical correctness.”

Modern fencing combat is carried out using electrical equipment to record shots.

The device signals the injection by the athlete by lighting lamps of different colors. If the athlete has injected, the lamp on the device on his side lights up. In rapier and saber fencing, only thrusts made into the target surface are considered valid. Valid injections are marked by lighting colored lamps (red or green), and invalid ones by a white lamp. When the colored and white lamps are lit at the same time, this means that an invalid hit was made first, in which case the valid hit is not counted. In epee fencing, only colored lamps are lit. Since all hits are considered valid, each hit given is counted. When the lamps are lit on both sides simultaneously, each athlete is awarded a shot.

In Russia, interest in the “sword art” arose at the beginning of the 18th century. In 1701, in Moscow, Peter I organized a school of mathematical and navigational sciences, in the curriculum of which a compulsory subject, the so-called “rapier science,” was introduced for the first time. At the Maritime Academy of Sciences, opened in St. Petersburg in 1719, “rapier science” was also included in the curriculum. Later, gymnasiums were opened at Moscow and Kazan universities, where fencing was practiced. In Russia, the first fencing teachers were foreigners. But already in the first half of the 19th century, the number of fencing teachers in Russia increased significantly due to Russian masters, students of military educational institutions. Since 1860, the first competitions for the title of Russian Champion began to be held in Russia. At the end of the 19th and beginning of the 20th centuries, a large number of printed works on fencing, the so-called “fencing manuals,” were published in Russia. At the same time, Russian fencers begin to participate in international tournaments.

Mensour fencing

A unique form of noble duel—mensour fencing—was common in Germany in the 16th century among young people, especially among students. (Mensurfechten - fencing in a confined space). Glasses with a metal mesh were put on the duelists' faces. The chest and neck were protected by a leather bib and a thick scarf. In their hands were prototypes of a saber - “schlegers” with sharply sharpened ends. The opponents stood opposite each other and struck one by one, aiming for the only unprotected part of the body - the opponent's face. At the moment of fatigue or weakening of attention, one of the participants in the fight broke through the defense of his opponent, on whose face a cut wound appeared, and subsequently a scar remained in this place. As you know, scars adorn a man. As a result, both duelists left satisfied: the winner with a feeling of triumph, and the loser with a sign of courage on his face.

Surprisingly, to this day this type of fencing exists among students in Germany, which cannot be classified as either dueling or sports. In its modern form, mensur fencing (menzur) cannot be called a sport, since there are no winners or losers in it; and at the same time, this is not a duel, since controversial issues are not resolved here. Mensur does not exclude the possibility of injury, but is not the end in itself of causing it. In Germany, scale fencing is not prohibited by either the state or the church. The church's blessing was received in 1988, and the state lifted its ban in 1953, which had been in effect since 1933.

In today's regulations of mensur fencing it is written: "... the purpose of mensur is to develop courage and self-confidence, and the return of the medieval tradition is not proof of its reactionary tendencies, but only a tribute to the ancestors." As for the technique of wielding weapons and the rules of combat, a distinctive feature of the art of scale fencing until the middle of the 19th century was that it was mobile. The distance between the opponents was such that the fighters could only strike with a lunge. Everyone had the right to defend themselves not only with weapons, but also to use a slope (volt) in order to avoid a blow. The fight (duel) was carried out until the first blood of one of the participants. In 1850, new rules for conducting fights in scale fencing were developed. The distance was shortened and, instead of moving, fencing turned into static. Retreats and body tilts were prohibited. To protect against the blow, only weapons remained. But, as before, the battle continued until “first blood”, that is, it bore the characteristic features of dispute resolution.

Since then the rules have changed a little. The main difference is that the duration of the fight is now set. The fight can only end prematurely if one of the participants is wounded in the face. Thanks to modern materials, the protection of the entire upper shoulder girdle, including the neck, has been additionally strengthened, and only the face remains, as before, covered only with glasses with a metal mesh. The very nature of the fight changed; it lost its dueling orientation. Mensur fencing has since ceased to serve as a means of resolving disputes. Now this is a rite of passage into modern “knights”, a test of courage and perseverance. According to the new rules, opponents are prohibited from closing their eyes during the fight. The side judges are watching this closely. And if one of the fencers closes his eyes at the moment of defense from fear, the test of courage is considered failed, and the fight stops.

The weapon used by fencers is called a "schlager". In this case it is a “saber”, but if you allow yourself a free translation, then it can be called a “strike”, since a tennis racket will be called exactly the same in German. In modern German, the word “saber” sounds almost the same as in Russian “sabel”. The Schläger is a heavy weapon. It is 3 times heavier than a modern sports saber.

While heroic sagas and early fantasy stories focus on their decoration, magical qualities, or "unbreakable super steel" when describing swords, more recent authors say that the real secret of a good sword lies in something else, namely balance. .
When describing a sword, you constantly come across the definition of “well balanced.” But information about what actually makes a sword well balanced is rare to find. The aspect we will now consider may be called "sword physics", but the term "sword harmony" has taken root in international terminology (this refers to the harmonic vibration
sword, which will be discussed shortly).
Until now, in the literature on the history of weapons there has been almost no talk about the harmony of the sword.
However, this can be explained by the fact that only in recent years have research and experiments been really carried out on this matter. Before them, the sword was considered as an object of art and military-historical research, and statements about suitability for battle and “performance qualities” were almost always just speculative reasoning.
Thanks to the efforts of numerous reenactors, swordsmiths and sword enthusiasts, numerous examples have been tried and tested to date. This is how completely new knowledge was gained about swords.
A good sword has a hard and resistant blade, which should be flexible and elastic at the same time.
In addition to this, it needs to be properly balanced, otherwise it will be clumsy, rough, and cannot be used to fence properly.
A poorly balanced sword, for example, does not allow certain techniques to be performed at all, while a balanced weapon supports and enhances attacks. “If the blade of a sword has good proportions and appropriate mobility, then the sword has a balance that promotes smooth forward movement without making it unwieldy and clumsy. Thus, the blade is easier to control when fencing,” concludes Swedish swordsmith Peter Jonsson. Naturally, even in the Middle Ages, not all swords were perfectly balanced, and there were obvious qualitative differences.

Three factors are important for the balance of a sword:
. total weight of the sword,
. center of gravity
. mass distribution.

The overall weight of the sword is naturally a very important factor. Unfortunately, there are misconceptions about him. They are inspired not only by scenes in novels or films in which mere mortals (as opposed to muscle-covered heroes)
are completely unable to lift the sword or raise it with only two hands, but also with the statements of modern sports fencers - in comparison
with the modern sporting sword controlled at the fingertips and causing no injury, medieval swords were naturally
much harder. Unfortunately, you can often hear false statements from historians regarding weight and balance. So, for example, the rest is very
a well-made television documentary refers to a weight of 15-20 kilograms. This is complete nonsense! In fact, the swords were much lighter. Logic dictates that, in the end, quite often life depended on how easily and quickly one could maneuver the sword.
Studies of historical swords give the following average weight:
. one-handed swords (X-XV centuries) - about 1.3 kilograms,
. long swords - from 1.5 to 2.0 kilograms,
. two-handed swords - 3.0 kilograms.

Stage show swords weigh nearly 40 percent more than a corresponding sharp sword ("cheap" show swords weigh even more). This is due to the fact that instead of a sharp blade, they have striking edges, three to four millimeters thick.
The blade, therefore, does not have the original cross-section, but a much thicker one. Unfortunately for many reenactors, this affects not only the overall weight, but also the balance of the stage swords. Visitors to markets for medieval items most often encounter swords for stage combat. They, of course, confuse them with "real" swords and thus get a false impression of the weight of the real sword.
Although sharp swords are much lighter than is generally believed, I would like to emphasize that sword fighting still requires athletic strength. Try to make precise movements with your hand with a weight of one and a half kilograms (long sword) for a long time at a fast pace. We must not forget that being a knight is not only a privilege, but also, in a certain sense of the word, a profession. Most knights trained with weapons every day from early childhood, because they were professional fighters! It is therefore clear that weight is only a minor factor. Sword fencing expert Guy Windsor explains this: “The importance of balance cannot be exaggerated: a heavy, well-balanced blade is much easier to control than a light, poorly balanced blade” (Windsor. S. 38)
The definition of the center of gravity is clear: at this point the weapon is in balance. Depending on the size and shape of the sword, the center of gravity is located seven to fifteen centimeters below the parrying arms. If the center of gravity is shifted further towards the blade, then the chopping blow of the sword, although it gains greater strength, the blade becomes inconvenient compared to others, and such a sword is difficult to control. If the center of gravity is too close to the handle, then, at first glance, it may seem that the sword is easy to control, but the cutting blow loses power, and the blade (primarily the tip) becomes difficult to control. In addition, the heavy handle “pulls” the hand holding the sword for a long time. So, it is of great importance that the center of gravity is located in the right place.

“The total weight and the mass at a certain distance from the center of movement of the hand controlling the sword influence both the speed and force of the sword's impact,” says Peter Jonsson. Therefore, the mass must be correctly distributed along the entire length of the sword. However, here large differences can be established depending on the method of application. A sword intended for slashing only must have its mass distributed relatively evenly along its length. For a sword that is also intended for piercing attacks, the mass should be concentrated in the area of ​​the handle, since the sword must be well controlled by the movement of one hand. Even if a sword, the mass of which is concentrated at the hilt, has a greater total weight than another of the same type, it will nevertheless seem lighter and more convenient to the fencer.
To equalize the overall balance, the mass of the head must be selected in accordance with the mass of the rest of the sword, as sword master Hanko Döbringer said: “If the sword is large and heavy, then its head must be heavy.” However, the mass is
the ends should not be too large, otherwise the sword will be difficult to control.
So we looked at three factors: total weight, center of gravity and mass distribution. In addition, the so-called nodal points are also important for the harmony of the sword. The blade of the sword is elastic - it must be such that it can elastically reflect the blows of the enemy’s sword.
When swinging, the vibrations of the sword are almost unnoticeable.
Roughly simplifying, we can say that in this case we can talk about a giant tuning fork.

If it meets another sword or shield upon impact, the vibrations naturally become stronger. The bad sword begins to tremble in the hands, vibrations are transmitted
from the blade to the hilt. A good sword, on the contrary, lies firmly in the hand, since vibration-free zones - nodes - are located in the right places. “Machining vibration-free nodal points is the secret of a capable gunsmith,” says Peter Jonsson.

The primary nodes are also called “impact centers” (SC) (sword lovers call them “sweet spots” among themselves). The CS is the place of the blade where the blow meets resistance, which reduces the impact on the hand, holding the sword. As can be seen from the amplitude in the graph, the vibration-free nodes of the blade are in harmony with other, secondary nodes in the handle, also known as “resonance points”. are not transmitted or almost not transmitted.

Ideally, on a sword, the center of gravity, depending on the center of gravity, should be located a third of the length of the blade from the tip. The resonance point should be in the hilt behind the arms of the crosspiece in the place where the hand holds the sword. Then it does not matter how strong the blow of the sword is: its result, transmitted to the hand holding the sword, will be relatively weak.
The action of nodal points is explained by sword fencing expert G and Windsor in this way: “In order to chop off limbs, they use the center point, but for quick chopping blows to the head, they use the last couple of inches of the blade. The best compromise for general use of a longsword is to strike with an area located three-quarters of the way down the blade, just below the center of the blade. This ensures the transfer of sufficient force, a calculated and controlled blow [falling on the hand holding the sword (T.L.)] and the choice of whether to continue moving or draw back the blade.” (Windsor. S. 84).
Nodal points on a sword can be determined in two simple ways. Finding a training center is easy even for a child (and even for such a weakly sensitive person like myself). The sword is taken in such a way that the blade is directed vertically with the tip upward. Then they hit the head with their free hand so that the sword begins to vibrate.
Finding the resonance point is much more difficult, since in this case you will have to rely on touch instead of the eye. To determine it, the sword must be held with the tip down, the weight is held only by the thumb and forefinger, and the rest simply lie on the handle. Lightly hit the head with your palm to make the sword vibrate, and try to feel the vibration with your fingers. In the place on the handle where vibration is not felt or almost not felt, there are secondary nodes. On a chopping sword, such a knot is usually located in the area of ​​the index, middle or ring finger. In contrast, with a piercing-cutting sword it moves as close as possible to the arms of the crossguard.
The TC, as a rule, is found already on the first attempt, but determining the resonance point usually requires several experiments and a developed specific sense.
If it doesn't work right away, move your hand up and down the handle and try again.
As gunsmith Jim Chrysoulas says, the head is another critical vibration point:
“If the blade meets an object, the vibrations go down the blade. In most cases they have no effect (or very little effect) on the sword as a whole. But sometimes
they can become so severe that the blade breaks at its weakest point. This place is usually located at the junction of the shank and the head.” The riveted shank holds the head and thus holds together the parts of the sword - the blade, the crossguard and the handle tube. If a rivet breaks, then in the worst case the sword can be disassembled into its component parts. Therefore, the blacksmith must calculate the size and weight of the head so that, on the one hand, it constitutes the necessary counterweight to the blade, and on the other, it is as light as possible to compensate for the effect of vibrations.

M, L or XL - the “correct” sword sizes

At this point I would like to touch on one more aspect, which, although it is on the border of “sword physics,” in my opinion, is precisely where it should be raised.
To be able to control the sword most effectively, it must match the size of the swordsman's body. For example, from Japan, to determine the size of a katana, the rule of the fist came to us: if you hang the sword from the armpit, it should slightly miss the ground, and the handle should be almost three times longer than the width of the palm.
The information on this topic that has come down to us from books on fencing is very modest. Sword master Hanko Döbringer, for example, spoke only about the length of the hilt. In his opinion, the handle should be long enough for two hands:
“Know also that a good swordsman must first of all handle the sword accurately and confidently and hold it with both hands between the bows and the head.
Holding the sword this way is much safer, since it will be held at the head by another hand. And he hits much harder and more accurately if the hand is thrown over the head and participates in the blow, so that the thrust penetrates more strongly, because the fencer holds the sword by the head. When he hits with his head, he can never go as hard and as completely.”
Bastrad swords with a shorter handle, in which the left hand can only grasp the head, should be avoided, according to Döbringer.
A longer handle primarily supports the effect of leverage when controlling the sword: if the center of rotation is under the right hand, then moving the left hand affects the change in the position of the blade without applying force (this example once again demonstrates the elementary differences between one-handed and long swords).
One of the few medieval swordsmen who wrote little more about sword length was Master Vadi. In his opinion, a two-handed sword should reach from the floor to shoulder height. The head should be round so that it fits comfortably in a clenched hand. The length of the handle should be a span (the span was measured from the elbow to the wrist joint). The cross-section of the cross-section should be square, strong and as long as the handle and head combined to provide optimal hand protection. The ends of the arms of the cross must be sharp so that they can be “wounded and cut.” Such pointed arms of the crosspiece are depicted in some engravings of Talhoffer's fencing book, but since not a single copy has preserved the axis, from this we can conclude that they were relatively rare.

Conclusions like those made by Master Wadi, as already mentioned, are very rare. Other masters of defense seem to have taken it for granted that their readers had mastered the basics of swordsmanship and understood them well enough to choose a suitable sword for themselves (Master Ringakk, for example, hinted that only a reader with a pre-existing basic knowledge would be able to correctly interpret poems-memos). A modern expert in the field of sword fencing, Guy Windsor, recommends the following dimensions for a long sword:

The overall length should be approximately from the floor to the sternum.
. The length of the handle should be from two and a half to three times the width of the palm.
. The length of the arms of the crossbar should be equal to one to two palm lengths.
. The center of gravity should be three to five fingers (wide) under the arms of the cross.

As a rule, the judge gives commands during the competition in French. There are seven main commands.

The following commands are distinguished:

• En guard (French: En guarde, For battle) A signal to prepare for a competition. The combatants must each take positions behind their own start line.

• Et-woo pre? (French: Êtes-vous prêt?, Are you ready?) The judge asks a question to both participants before the start of the fight. A participant who is not ready to fight must signal the judge by stamping his foot and raising his weapon up.

• Hello! (French Allez!, Begin!) Signal to start the battle. Participants have the right to start moving.

• Alto! (French: Halte!, Stop!) Stopping the battle.

• A droi (fr. A droit, To the right). The hit is awarded to the fencer located to the right of the main referee.

• A gauche (French: A gauche, To the left). The hit is awarded to the fencer on the left.

• Pa conte! (French Pas compter!, Do not count). The shot is not awarded to anyone.

Fencing with foils (French fleuret)

Areas in which hits are counted in foil fencing are highlighted in red.

Only injections made into a metallized jacket (electric jacket) are counted. Injections in areas not covered by a metallic jacket are recorded with a white lamp and are considered invalid. The basic modern rule in foil fencing determines that the enemy’s attack must be repelled before a retaliatory action is initiated (right attack). The priority of action passes from one fencer to another after an active action on the opponent’s weapon with his weapon (right of defense). The advantage is determined by the arbitrator. It stops the action when the device registering the injections signals that they have been applied. Then, based on the readings of the machine, the referee awards the injection or cancels it. Then the fight continues.

Saber fencing (French: sabre)

The areas in which thrusts and blows are counted in saber fencing are highlighted in red.

Blows and thrusts are applied to all parts of the fencer's body above the waist, including the arms (up to the wrist) and the mask. The affected surface is covered with protective clothing containing silver shavings, while the mask is also in electrical contact with the jacket. The blow and injection are recorded by a colored lamp on the device. Saber fighting is similar to rapier fencing. The same basic rules for determining the winner in a fight, where the attacker has an advantage over the counterattacker with simultaneous blows or thrusts. The fencing phase progresses from attack to parry and attempt to retaliate, shifting the priority of action from one fencer to another. The main difference is that in practice the saber is used primarily for blows rather than thrusts; it is more difficult to defend against the former, and the battle becomes much more dynamic. Unlike rapier and epee, in saber fencing a “cross step forward” is prohibited (a cross step back is allowed).

Epee fencing (French: épée)

Areas in which hits are counted during epee fencing are highlighted in red.

Injections are applied to all parts of the athlete’s body, except the back of the head. The weapon and the fencing track are isolated from the apparatus, and the injection is not registered in them. In epee fencing there is no priority of actions. The device does not detect an injection delivered more than 0.25 seconds later than another. At the same time, the hits made are mutually registered and awarded to both fencers. Only the last injections in the fight, if the score is equal, need to be repeated.

Weapon

Three types of weapons are used - rapier, saber, epee.

A fencing weapon consists of a blade and a guard (a shield on the handle that protects the athlete’s hand).

From top to bottom: rapier, epee, saber

The rapier is a piercing weapon (blows can only be delivered with the tip of the blade) weighing no more than 500 g and no more than 110 cm long with a flexible tetrahedral blade no more than 90 cm long; The hand is protected by a round guard with a diameter of 12 cm.

Sword with pistol grip

Sword a heavier piercing weapon, weighing no more than 770 g and no more than 110 cm long, similar in design to a rapier with a stiffer and slightly longer triangular blade. The hand is protected by a round guard with a diameter of 13.5 cm.

Saber in sports fencing

Saber- cutting and piercing weapons weighing no more than 500 g and no more than 105 cm in length with a flexible trapezoidal blade no more than 88 cm in length. You can apply not only injections with the tip, but also blows with the blade; blows with the guard are prohibited. The guard is oval in shape with a bracket that protects the athlete’s hand and fingers.

A tip is put on the tip of a rapier and a sword - a button that closes an electrical circuit formed by a wire running under the athlete’s jacket and in the blade, and a device that records the injections; a connector is attached to the guard - a double in the case of a rapier and a saber or a tee in the case of a sword to connect the wire. The saber does not have a tip.

Equipment

Jacket

Trousers

Mask

The fencer's equipment includes a white protective suit made of lightweight Kevlar, consisting of a jacket (jacket) and knee-length trousers with suspenders. Long white socks are put on the feet - leg warmers and special fencing shoes with flat soles. The head is protected by a mask with a metal mesh and a collar that protects the athlete’s throat. Gloves are put on your hands. Fencers wear protective side guards under their protective suit.

For epee fencers, the mesh of the mask is insulated from the inside and outside with plastic impact-resistant material. The masks of foil players are similar to those of epee fencers, but additionally have an electric collar. For saber fencers, the mesh of the mask and the collar are not insulated and are made of electrically conductive material. The saber glove has a conductive cuff.

Foil fencers wear special metallized conductive vests over their suits, and saber fencers wear jackets that reflect the surface of the athlete being struck.