| CONTENTS | |
| | |
| Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . | 9 |
| Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . | 11 |
| | |
| PART ONE: Philosophy-John Waller | |
| 1. 'Reality First' . . . . . . . . . . . . . . . . . . . . . . . . | 15 |
| 2. Body Mechanics . . . . . . . . . . . . . . . . . . . . . . . . | 19 |
| 3. Weapon Design . . . . . . . . . . . . . . . . . . . . . . . . . | 25 |
| 4. Clothing and Protection . . . . . . . . . . . . . . . . . . . . | 30 |
| 5. Character and Motivation . . . . . . . . . . . . . . . . . . . | 36 |
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| PART TWO: Training-Keith Ducklin | |
| 6. Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . | 45 |
| 7. Sequence One: Late Medieval Two-handed Sword . . . . . . . . . | 51 |
| 8. Sequence Two: Late Medieval Hand-and-a-half Sword . . . . . . . | 68 |
| 9. Sequence Three: Sixteenth-century Single-handed Sword and Buckler | 85 |
| 10. Sequence Four: Sixteenth & Seventeenth-century Rapier and Dagger | 101 |
| 11. Sequence Five: Late Seventeenth-century Transition Rapier and | |
| Eighteenth-century Smallsword . . . . . . . . . . . . . . . . . . | 138 |
| 12. Blocking the Fight . . . . . . . . . . . . . . . . . . . . . . | 176 |
| 13. The Fight During Performance . . . . . . . . . . . . . . . . . | 179 |
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| Afterword . . . . . . . . . . . . . . . . . . . . . . . . . . . . | 181 |
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| Appendix: Recording the Fight-John Waller | |
| Fight Notation . . . . . . . . . . . . . . . . . . . . . . . . . . | 182 |
| Monty Python and the Holy Grail . . . . . . . . . . . . . . . . . | 183 |
| Hawk the Slayer . . . . . . . . . . . . . . . . . . . . . . . . . | 185 |
| Sir Ian McKellen's Richard III . . . . . . . . . . . . . . . . . . | 187 |
| Organizations . . . . . . . . . . . . . . . . . . . . . . . . . . | 189 |
| Further Reading . . . . . . . . . . . . . . . . . . . . . . . . . | 191 |