PhD, Associate Professor A.V. Aksenova¹
Dr.Sc.Phil. S.B. Kulikov^1
1Tomsk State Pedagogical University, Tomsk

Keywords: artistic fencing, theatre, temporality, bout, ancient heritage, fighter’s behavioural model, artistic design.

Background. Subject to the study were the factors and aspects of influence on the bout process perception and control integrity in the modern artistic fencing sport. In the psychological and educational domain, knowledge of these factors may help improve the training process success in this fencing discipline that is ranked among martial arts with cold steels and their analogues. The article analyses, among other things, the role of cultural/ historical time in modern artistic fencing and demonstrates the non-concurrency of the linear historical time and relevant cultural process cycles. Time factor effects on the bout process perceptions by competitors, spectators and referees need to be taken into account to facilitate the artistic fencing training standards being improved. Training process must be designed to factor at the cultural development stages and relevant stage-specific images. In this context, time interpreted not only as a measure of duration but also as a variability symbol on the whole implies that the relevant standard fencing images must be specified and clarified.

Methods and structure of the study. The study methods included modelling and mental experiment. The study was designed to identify and outline the basic behavioural models applicable in artistic fencing bouts and thereby formulate and analyse the bout logics. The logics analysing process found the high influences of the ancient ideas on the research and educational process ideas formed in modern and contemporary times.

Study results and discussion. The study assumed the base definition of fencing as a combat with cold steel and analogues [5]. This interpretation of fencing made it possible to offer the following specifications for modern artistic fencing:

First, modern artistic fencing may be described as a stage version of fencing with a special primary emphasis on the artistic aspects designed to dramatise the staged conflicts. Later on this artistic emphasis was used as a basis for competitive replicas of real bouts [4].

Second, modern artistic fencing gives a special priority to transformation of fencing into stage theatrical performance i.e. competitive artistic fencing practice, with this practice being viewed as an integral part of the relevant material and spiritual culture. Having analysed variations of the first fencing model, we demonstrated the potential of the artistic bout conceptions being transformed; with the transformation process being largely dependent on the technological production aspects of the applied cold steel. As far as the second model is concerned, it was found that changes in the cold steel designs in different time periods were of great effect on perceptions of fencing bouts. Analysis of fencing models versus the historical development of the European cultures in the Antiquity, Middle Age and in modern and contemporary times made it possible to outline the specific versions of the above transformations.

Our analysis of the available sources showed that the ancient metal production technologies determined the relatively small sizes of the swords at that time period, with both the fight distances and attack times being short enough. A top priority in the ancient period was given to the individual fighting qualities of the warriors, whilst in later periods an emphasis was made on the collective fighting actions. It should also be noted that the gladiator fights helped retain the ancient combat ideals. The medieval times were different in the fencing technique basics and their stage presentations – largely due to the new technologies of cold steel production with long swords being widely applied. The fighters could slash and sweep on longer distances with the movement pace notably slowed down and with the individual swordsmanship and practical skills highly valued. This mastery has been even more important and appreciated in the modern and contemporary times when the further progress of the steel production and processing technologies made it possible to produce rapiers; and it resulted in the relevant transformations of the fencing techniques dominated by the middle- and long-distance hits since then [4].

The study data and analyses allowed identifying two fencing bout presentation models most popular in the Middle Age and in modern and contemporary times. These standards, on the one hand, were developed in the tournaments driven by the knight honour code; and, on the other hand, the same standards were determined by the aesthetic principles forming a basis for the theatrical performances. It should be noted that the knight valour prohibited victory being attained at any cost, with the relevant restrictions on the weapon usage rules, including the prohibition on the weapon being used for evil or mean purposes [1, p. 81-82]. In the modern and contemporary times, however, the theatrical fencing bouts have been reduced to standards sets of ritual actions of poor if any resemblance to the real combat fencing art.

Furthermore, the study provided the grounds to assume that the progress of fencing versions and the relevant cultures has been rather spiral-shaped than linear in fact. Artistic fencing has been recently ranked among the formal sport disciplines due to the following logics of the stage/ theatrical fencing version evolution process:

First, any analysis of the historical records shows that the ancient dramatic art was largely focused on featuring mythological characters. Collisions of the characters were designed to evoke tragic and/or positive emotions to achieve psychological relaxation of spectators (in comedies). It should be noted that the fencing bouts and battles in the Aeschylus scenarios were staged in very primitive manner with no more than two characters acting on the stage [6, p. 110]. Bouts were designed to illustrate the mythological narrative rather than present a real fight.

Second, analysis of the historical progress of the fencing bout presentations showed that the stage bout interpretations in the medieval times were driven by the ideas closely related to the devotional concepts and values albeit the artistic tools applied by the producers at that time showed close resemblance to the relevant ancient standards [3]. Generally it may be pertinent to mention that bouts with cold steel have always been intended to reveal and symbolise ideas of nobleness, treachery and other personal qualities of the characters.

Third, the fencing characters’ evolution analysis showed that the stage bouts of the modern and contemporary times were largely designed based on the ancient traditions of tragic and comic in the art. Duels have featured mostly social conflicts personifying natural human vices rather than some abstract ideals [7]. In the modern times the producers tended to further specify the stage conflicts often presenting them as battles of social and natural forces. Fencing art versions popular in the mass culture have come dangerously close to the stage performances albeit this trend is partially offset by the artistic fencing being largely interpreted as a version of education practices [2; 3].

The study findings gave grounds to substantiate the following key provisions:

First, it was found that the linear historical time with the relevant timeframes for the social cultural forms and fencing art as an integral part of culture are not always concurrent with the actual cultural process cycles. It is due to the linear nature of historical time that one historical epoch comes after the other, with the prior forms being often totally transformed – for instance, the modern society will never accept slavery on the whole and gladiator slaves in particular. At the same time it is clear that the world of cultural connections and relationships (including traditions, behavioural stereotypes etc.) has demonstrated multiple examples of both new forms being emerged (within the linear logics of the process) and old forms being revived in the new social and historical timeframes, i.e. the actual sequences of events showed some inconsistency. The study found, for instance, that the modern business practices and legal provisions have almost nothing similar with the ancient and medieval trade standards and traditions. It should also be noted, however, that sport competitions are more traditional in the sense that the public perceptions of champions are still somewhat mystical as it used to be the case in the ancient times when they were honoured as heroes and demigods.

Second, the study found good substantiations for the fact that the referees and competitors in the modern artistic fencing competitions may be governed by different ideal fighter’s behavioural models formed in different historical epochs (ancient or medieval times) and even by popular fictitious characters. The historical models were found to be basically derived from the ancient fencing bout presentation forms including the gladiator fights. And the fictitious models refer to the bout featuring standards offered by the best pieces of world fiction including Shakespeare’s and other playwrights’ plays and film industry including, for instance characters of the “Star Wars” (by J. Lukas, J.J. Abrams and others). We found the reasons why the competitors and spectators act within the frame of subjective psychological reality rather than objective/ physical time.

Therefore, due consideration for the time factor as the determinant for perceptions of an artistic fencing bout enabled us to interpret the modern duel as a virtual reality limited both by the modern theatrical performance requirements and the standards largely derived from the best ancient and even archaic classical samples.

Conclusion. The study data and analyses gave us the grounds to offer the following practical recommendations on how the artistic fencer’s training process may be improved:

First, due consideration in the modern competitive training process must be given for the fact that the modern artistic fencing should be designed to attain the logical final demonstrating the “moment of eternity” via a theatrical fatal bout. This provision is verified by the fact that the movement quality in the modern artistic fencing is rated higher than speed, and this consideration must be taken into account in the fencer’s training system design.

Second, it should be understood that competitors in theatrical bouts close to the ancient gladiator bouts ideally must strive to attain the “moment of eternity” i.e. the perfect snapshot of the standard time flow. The bout is designed as though it goes beyond the actual time flow to make a leap to the past. This is the reason why so much attention is being given to the historical authenticity of the bouts staging standards i.e. the reliable presentation of the historical bouts by means of the present fencing art.

References

1. Boyanus S.K. Srednevekovy teatr [Medieval theater]. Ocherki po istorii evropeyskogo teatra [Essays on the history of European theatre]. St. Petersburg: Academia publ., 1923, pp. 55-104.
2. Lobanov V.V. Razvitie innovatsionnosti dopolnitelnogo obrazovaniya detey v avtorskoy obrazovatelnoy programme «Saberfayting» [Development of innovation additional education of children in the author's educational program "Saberfighting"]. Vestnik Tomskogo gosudarstvennogo universiteta, 2012, no. 358, pp. 158-161.
3. Lobanov V.V., Kollegov A.K. Stsenicheskaya rech v artfekhtovanii: opyt i pedagogicheskaya praktika [Scenic speech in artistic fencing: experience and teaching practice]. Nauchno-pedagogicheskoe obozrenie (Pedagogical Review). 2017, no. 1 (15), pp. 178-186. DOI: 10.23951/2307-6127-2017-1-178-186
4. Rua J.J. Istoriya rytsarstva [History of khighthood]. Transl fr. Fr.. St. Petersburg Leonid Demis publ., 1858, 182 p.
5. Tyshler D.A., Movshovich A.D. Iskusstvo stsenicheskogo fekhtovaniya [The art of stage fencing]. Moscow: SportAkademPress publ., 2004, 272 p.
6. Chistyakova N.A., Vulikh N.V. Istoriya antichnoy literatury. [History of ancient literature]. 2nd ed. Moscow: Vysshaya shkola publ., 1971. 439 p.
7. Shustova E.N. Svoeobrazie dramaticheskogo deystviya v piese M. Bulgakova «Don Kikhot» [The peculiarity of dramatic action in M. Bulgakov's play "Don Quixote"]. Vestnik Tomskogo gosudarstvennogo pedagogicheskogo universiteta, 1999, no. 6 (15), pp. 52-58.

Corresponding author: fizkult@teoriya.ru

Abstract

The study made an attempt to analyse the influences of ancient heritage on the competitive training systems applied in modern artistic fencing. It was found that an analysis of the past fencer’s training models makes it possible to identify the factors of influence on perceptions of a modern artistic fencing bout. These factors include the unavoidable gaps in the socio-cultural mutual perceptions of the competitors and their perceptions by the referees. The analysis made it possible to outline the fighters’ behavioural models in different historical periods (Antiquity, Middle Age and modern and contemporary times) including the fictitious images as well. As a result, the authors found that the bout process is perceived in a non-linear manner versus the relevant role models including the real historical prototypes like gladiators in Ancient Rome, for example. Applied as prototypes for the bouts may also be any fictitious character as required by the specific competitive conditions and/or training system.