In the eighth play you missed the wing-lock . The illustration clearly shows that the attacker's arm is bending backwards, with the back of the defender's hand/wrist being used to exert pressure on the elbow and turn the joint against the direction of its natural movement.
Thank you for your analysis. In the last exercice, we think that the defender blade deflect the attacker's one to the ground. The foot seems to be used to control the blade after. We are agree that it would have been done faster or earlier. The hesitation is due to the will to demonstrate instead of being 100% realistic. Cheers !
In our's interpretation we think that the foot goes first than the blade, with just one single, continuous movement. Anyway, agree with your point. The video is very interesting because it's a complete different interpretation of Fiore's. Well done!
The overwhelmed attacker did not do a good job at serving committed agressions. Making the techniques somewhat obsolete. But nevertheless i really enjoyed watching the techniques and listening to the music. Great video.
I've tried to reproduce one play in this video and encountered a problem. At 3:06 a disarm is performed, and it seems to accurately reflect Fiore's illustration and text. However, the attacker did not really attempt to strike the defender. Indeed, he stopped his sword at the vertical, making it an easy task for the defender to disarm him. My question is, how can this disarm be performed if the attacker actually strikes at the defender, and his sword is not stopped at the vertical angle?
I think your problem may be in trying to carry off the grab using the cover recommended in the video. On this one and a couple of others, I think they have wrongly interpreted the type of cover one should use. This grab will work if you deflect the attack with what is known in other systems as the 'hanging guard.' This guard involves raising your sword over your head with the R hand above your R temple (more or less) and the blade sloping downward in front of you with the point toward the L -- not in the ochs-like position depicted here. At the same time, as you make the cover, enter immediately and seize the arm with your hand. This action is depicted in Talhoffer and Leckuckner and works as I have pulled it off more than once in free play.
Really nice! Just one point, the last game in the video seems to end too slowly, when he put the foot on the sword is already pointing the blade to the enemy. The foot should push down the enemy's blade earlier. This IMHO. Anyway, very good! Cheers!
nice how the helmet guy stop his blow right after he get parried and hold his hand still. That will def not work in flow motion and hard blow. 2. the grappling must come almost simluar to the strike but nice music
Très bon travail, mais par contre l'interprétation du 11e jeu me semble problématique. Sur le dessin, il apparait clairement un contrôle entre la garde et la lame, ainsi qu'un contrôle du coude. On "bloque" donc la lame de l'adversaire vers le bas en gagnant une position rapprochée. Quand je vois l'interprétation qui en est faite ici, je ne retrouve rien de tout cela. comment cela se fait-il ? Ce genre de contrôle de l'arme adversaire est quelque chose que j'ai pu expérimenter plus d'une fois en "sparring" et j'ai l'impression de retrouver cette technique dans l'illustration et le texte, pas du tout dans la version "vivante" qui en est donnée ensuite.
That music was epic.
Thank you ! When you learn Fiore's art, it is always an honor to receive the congratulations of our italian neighbours. Ciao !
Un lavoro lungo e faticoso con ottimi risultati, complimenti.
Excellent travail, c'est ce que nous devons interpréter le Fiori document. Salutations de l'Espagne
Merci.
Merci beaucoup!
@ArtesBelli, i will ask to my brothers. I like this exchange of interpretations
Very interesting point of view. Is it possible for you to make a video of your interpretation ?
Muchas Gracias ! Somos felices que nuestro trabajo pueda ayudarle
In the eighth play you missed the wing-lock . The illustration clearly shows that the attacker's arm is bending backwards, with the back of the defender's hand/wrist being used to exert pressure on the elbow and turn the joint against the direction of its natural movement.
Grazie mille
Thank you for your analysis. In the last exercice, we think that the defender blade deflect the attacker's one to the ground. The foot seems to be used to control the blade after. We are agree that it would have been done faster or earlier. The hesitation is due to the will to demonstrate instead of being 100% realistic. Cheers !
In our's interpretation we think that the foot goes first than the blade, with just one single, continuous movement. Anyway, agree with your point. The video is very interesting because it's a complete different interpretation of Fiore's. Well done!
In fencing you should never move your foot before your blade, as this creates a target without a threat and opens you to being timed.
Bravo !
Très bon travail!
The overwhelmed attacker did not do a good job at serving committed agressions. Making the techniques somewhat obsolete. But nevertheless i really enjoyed watching the techniques and listening to the music. Great video.
I've tried to reproduce one play in this video and encountered a problem. At 3:06 a disarm is performed, and it seems to accurately reflect Fiore's illustration and text. However, the attacker did not really attempt to strike the defender. Indeed, he stopped his sword at the vertical, making it an easy task for the defender to disarm him. My question is, how can this disarm be performed if the attacker actually strikes at the defender, and his sword is not stopped at the vertical angle?
If the technique cannot be achieved easily and quickly from the given position - do another technique.
I think your problem may be in trying to carry off the grab using the cover recommended in the video. On this one and a couple of others, I think they have wrongly interpreted the type of cover one should use. This grab will work if you deflect the attack with what is known in other systems as the 'hanging guard.' This guard involves raising your sword over your head with the R hand above your R temple (more or less) and the blade sloping downward in front of you with the point toward the L -- not in the ochs-like position depicted here. At the same time, as you make the cover, enter immediately and seize the arm with your hand. This action is depicted in Talhoffer and Leckuckner and works as I have pulled it off more than once in free play.
Have you ever seen a technic when a dagger was used additionally to the long sword ? Could it have been ?
abreast Durer created some techniques involving the Messer and rondel, so I assume so.....it could have been possible
Really nice! Just one point, the last game in the video seems to end too slowly, when he put the foot on the sword is already pointing the blade to the enemy. The foot should push down the enemy's blade earlier. This IMHO. Anyway, very good! Cheers!
Merci pour le commentaire :)
It is true. Now we do it like the dagger's play, as it is wrotten.
instructif, merci !
nice how the helmet guy stop his blow right after he get parried and hold his hand still. That will def not work in flow motion and hard blow.
2. the grappling must come almost simluar to the strike
but nice music
Une bonne compréhension! J'ai un étudiant français qui serait intéressé à parler avec vous.
Très bon travail, mais par contre l'interprétation du 11e jeu me semble problématique.
Sur le dessin, il apparait clairement un contrôle entre la garde et la lame, ainsi qu'un contrôle du coude. On "bloque" donc la lame de l'adversaire vers le bas en gagnant une position rapprochée.
Quand je vois l'interprétation qui en est faite ici, je ne retrouve rien de tout cela. comment cela se fait-il ?
Ce genre de contrôle de l'arme adversaire est quelque chose que j'ai pu expérimenter plus d'une fois en "sparring" et j'ai l'impression de retrouver cette technique dans l'illustration et le texte, pas du tout dans la version "vivante" qui en est donnée ensuite.
Nice shoes! How can I get it?
De quelle région de la France est cette musique? Les caractéristiques, notamment des instruments à marteler, sont analogues au folklore bulgare.
🗝🤚🏼
Avec plaisir. il peut nous écrire à : artesbelli@voila.fr
*Salon Ahmed de Coiffure*