| |
The
foot at the rear during any given point of footwork |
| LA |
(Film)
Low angle. |
| La
Belle |
French
term for the final touch, when at sudden death in a normal bout.
A clear touch. |
| La
Canne |
19th
century French stick fighting technique. |
| Lames |
Metal
strips forming part of flexible armour. |
| Langets |
Small
finger-like projections from the centre of the quillions flanking
the blade. |
| Lateral
parry |
See
Simple parry. |
| Lead
foot |
The
foot at the front during any given point of footwork. |
| Left
back ward |
Weapon
held point back and to the left, close to the hip. Viggiani's
fourth wide guard. |
| Left
dominant |
Landing
with the left foot forward. |
| Left
hander |
Person
who favours the left hand over the right. A fight notation nightmare,
and there's always one. |
| Lineas
Infinitas |
Imaginary
lines on the floor that join the combatants' feet in Spanish
rapier play. |
| Line |
a/
A specific area of the body which is threatened or covered from
attack. b/ Imaginary planes that bisect the body, both vertical
(Inside and outside lines) and horizontal (High and low lines.). |
| Line
of engagement |
The
area in which the blade is threatening attack. |
| Linea |
The
lines of engagement. |
| Lines
of attack (Lines) |
Imaginary
horizontal and vertical lines splitting the body into high,
low, inside and outside target areas. |
| Lock |
To
jam or fix securely. |
| Locking
nut |
Small
nut screwed into the tang of modern fencing weapons. |
| Long
sword |
A
sword with a simple cross-hilt and long cut and thrust blade. |
| Loosing
the sword |
Any
disarm which removes the sword from the hand allowing it to
fall freely to the stage. |
| Low
Angle |
(Film)
Camera looking up at the subject. |
| Low
guard |
Generally,
but not always the same as it's numbered correspondent, but
with the sword hand in a lowered position, the arm often straightened
and feet slightly further apart. |
| Low
invitation |
A
stance in which the hand is too low to prevent any attempted
attack, usually with the arm hanging loose from the shoulder,
the point low. Good for resting when out of distance. |
| Low
parry |
Generally
identical to any numbered parry, standard or crossed, but slightly
lower. As with the high parry this leaves some target area vulnerable
to second intention attack. Most used parry of this type in
my experience is the Low prime, which can cover virtually all
of the left side of the body, if necessary. |
| Low
Parry of five |
This
parry defends the groin from an rising cut, can throw you considerably
off balance, and is often substituted for an evasion. |
| Low
line |
The
area of attack below the sword hand. The parts of the opponents
target visible below the sword hand. |
| Lower
side ring |
The
larger of the two side rings found on the two-ring and swept-hilt
rapier hilts, situated the closest to the weapons pommel. |
| LS |
(Film)
Long Shot. |
| Lunga |
Lunge. |
| Lunge |
Forward
movement executed by advancing the leading foot forward while
the rear foot remains stationary. It is usually associated
first with a straightening of the arm as the beginning of an
attack. |