With the advent of the electrical sabre the current method of fencing, based on the standard weapon is obsolete. No longer will extended running attacks with multiple cut feints be effective. Instead, we shall, very likely, see a return to the sabre fencing technique of the Radaellian school, with point attacks, circular parries, and complex fencing phrases consisting of counterparry ripostes, actions on the blade, renewed attacks, counterattacks to the advanced target, countertime, and the feint in time. In other words, the electrical sabre is taking us back to the past, when sabre fencing resembled duelling practice.

The change in this direction has, in fact, already begun and was clearly evident in the 1990 edition of the Trofeo Luxardo. The French, Italians, and West Germans were all cognizant of the possibilities offered by the electrical weapon, and prepared their fencers accordingly. For example, I observed the Bulgarian coach of the West German team drilling his fencers almost exclusively with actions to the forearm. In the final classification of the World Cup event, Laurent Couderc of France placed first, Marco Matin of Italy, second, and Martin Wendel of West Germany, third. Couderc and Wendel, in particular, took full advantage of the capability of the electrical scoring device to register light hits to the arm.

Because of its sensibility, the electrical sabre permits the fencer to utilize actions used in foil and epee fencing. Modern sabre is, after all, based on foil, and its most skilled practitioners during the early decades of this century were generally foilsmen, such as Carlo Pessina, Agesilao Greco, Italo Santelli, Nedo and Aldo Nadi, Gustavo Marzi, Ugo Pignotti, and Renzo Nostini.

Aldo Nadi once observed that he and his brother, Nedo, had never taken more than five sabre lessons in their entire lives. And he attributed his success, and that of his brother to their preparation in foil, and use of the point. It will be remembered that Nedo and Aldo Nadi placed, respectively, first and second in individual sabre, and first in team sabre in the Olympic Games of 1920. Thirty-six year-old Nedo Nadi, at the close of his competitive career in February, 1931, in a sabre match that attracted world wide attention, defeated the powerful Hungarian swordsman, Gyorgy Piller (Olympic sabre champion, 1932), 16 to 12.

Agesilao Greco, in his later years, developed a sabre technique based on use of the point; in particular, he stressed counterattacks with the point to the wrist. To Greco, an experienced duellist, it was perfectly obvious that the sabre fencer's advanced target was especially vulnerable. In September, 1931, Greco gave a demonstration of his system of sabre fencing. He reminded his audience that the arm with the double cutting edge also has a point, and that this must be applied in opposition to the Hungarian game. His method was described in II Messaggero as simple and practical: he placed the sabre in line and advanced with the point of his weapon aimed at his adversary's arm; the instant the opponent attempted a time cut to the arm, he was impaled on the point. Greco invited fencers among the spectators to participate by executing time cuts against his naked arm, or any other target area they might choose. No one managed to touch him. In October, 1934, Greco provided irrefutable proof of the efficiency of his system of sabre play by defeating the renowned Hungarian fencer, Endre Kabos (Olympic sabre champion, 1936). Kabos was approximately 40 years younger than Greco.

Looking ahead, then, to the coming World Championships and Olympic Games, what can be done to enable our top-level fencers to compete effectively with the electric sabre? The answer, in my opinion, is to return to traditional methods of instruction. We must draw heavily on foil and epee technique to develop a sabre method suitable for the electric weapon. The typical modern sabre fencer tends to have poor point control, exposes his lower arm frequently during attack, relies heavily on offensive actions with multiple cut feints, employs only simple parries, and is sparing in his use of counterattacks to the advanced target. He is most easily hit with point attacks, the remise, and counterattacks.

Sixty years ago sabre fencers kept the sword arm well extended, with the point of the sabre forward. They did not hesitate to use circular cuts, and they employed a combination of simple and circular parries. Moreover, they counterattacked the exposed arm whenever the opportunity presented itself. The same tactical approach could be used today with great effect. The key is to return to the classical sabre lesson based on duelling practice. Here is an example (both fencers are right-handed):

1) In opposition to the master's invitation in third, the student executes the point thrust to the inside chest (first in second hand position or thumb at seven o'clock) with a lunge;

2) In opposition to the teacher's attempt to engage in fourth, the pupil performs the disengagement with the point in time to the outside chest (first in second hand position) with a lunge, followed immediately by a direct cut (third hand position or thumb at twelve o'clock) to the arm while recovering to the guard position in third-in other words, two rapid hits;

3) In opposition to the master's invitation in fourth, the student executes the direct cut to the top of the forearm (third hand position) from the guard position, succeeded instantly by a direct cut to the top of the head with a lunge, and, as the teacher shifts to third, a circular cut to the internal arm (third in fourth hand position or thumb at one o'clock) during recovery to the guard position in third-in this case, three quick hits;

4) In opposition to the master's attempt to engage the blade in fourth, the pupil performs the feint by disengagement with the point in time to the outside chest (second hand position or thumb at nine 0' clock) with an advance, and as the teacher parries third, eludes the simple parry with a disengagement with the point to the inside chest (first in second hand position) with a lunge, succeeded instantly by a direct cut under the arm with the counter cut (second in third hand position or thumb at eleven 0 'clock) pulled back in a slicing motion while recovering to the guard position in third; and when this is firmly in hand, as an alternative, the master parries the disengagement with the point to the inside chest, holding his parry and stepping back, to trigger the students renewed attack with a disengagement with the point to the outside chest and recovery forward, followed by a descending cut (cut-over) to the head with a second lunge (or running attack, passing on the inside);

5) In opposition to the teacher's attempt to engage the blade in fourth, the pupil executes the feint by disengagement with the point in time to the outside chest (second hand position) with an advance, and as the master parries third, eludes the simple parry with a disengagement under and cut to the head with a lunge, followed immediately by a direct cut to the arm (third in fourth hand position) during recovery to the guard position in third;

6) In opposition to the teacher's attempt to engage the blade in fourth, the student performs the feint by disengagement with the point in time to the outside chest (second hand position) with an advance, and as the master parries counter of fourth, eludes the circular parry with a deceive to the outside chest (first in second hand position) with a lunge, and on the recovery to the guard position in third; parries fifth (semicircular movement of the blade with the point well forward) and ripostes by direct cut to the flank (second hand position); and, when this parry-riposte has been mastered, adds the counter parry of fifth and ripostes by circular cut to the abdomen (fourth hand position or thumb at three o'clock);

7) In opposition to the teacher's placement of the blade in line, the pupil executes the beat in fourth with the cut in time and direct cut to the outside cheek (second hand position) with an advance and lunge, followed immediately by a direct cut to the arm (third in fourth hand position) during recovery to the guard position in third;

8) In opposition to the master's placement of the blade in line, the student performs the beat in fourth with the cut in time with an advance, and, when the teacher eludes this action on the blade with the disengagement with the point in time, remains in place and parries third in countertime and ripostes by direct cut to the head (third hand position);

9) The pupil parries counter of third with a retreat and ripostes by glide with the point to the outside chest (first in second hand position);

10) The student parries double counter of third with a retreat and ripostes by glide with the point to the crook of the arm (first in second hand position);

11) The pupil places the point in line (second hand position) and advances slowly, and, when the master attempts to engage the blade, eludes blade contact by disengagement with the point in time to the outside chest (first in second hand position) with a lunge, succeeded instantly by a direct cut to the arm (third hand position) during recovery to the guard position in third;

12) The student places the point in line, advances slowly, and, when the teacher attempts to engage the blade, eludes blade contact with the feint by disengagement with the point in time (second hand position), and on the master's parry of the counter of fourth in countertime, eludes the circular parry with a deceive to the outside chest (first in second hand position) with a lunge, followed immediately by a direct cut to the arm (third hand position) while recovering to the guard position in third. Each of these actions is repeated for the length of the fencing strip.

Now the actions from numbers 5 to 7 must be performed in opposition to the master's varied responses. If he executes a simple parry, number 5 will follow; if he performs a circular parry, number 6 will succeed; if he places his blade in line, number 7 will follow; and if he executed the disengagement in time, number 8 will succeed. Performed in this manner, without verbal commands, the lesson is called a mute lesson. All that remains to be done is to add mobility, that is to say, movement up and down the fencing strip.

Throughout the lesson the teacher must emphasize correct placement of the hand. The adversary should be approached with the point threatening his advanced target, armed hand shoulder high, and well to the right. Point thrusts must terminate with the hand in first in second position so that the knuckle guard offers protection against time cuts. Cuts should be performed with the hand raised shoulder high so that the lower forearm is well shielded.

Practiced assiduously, this lesson will provide the means for success with the electrical sabre.

AF Vol 42 Num 3 - 1992-01 (Digitized with special thanks to Provost Barajas.)