The Sword Play of La Destreza

Prima Spada is reconstructed Renaissance swordplay based largely on La Destreza, the philosophy of the Spanish School of fencing in the 16th and 17th centuries as described by Don Jeronimo de Carranza, Luis Pacheco de Narvaez and Gérard Thibault.

From their upright, 'straight-line guard' position, the two combatants face each other with their swords held out at arm's length. They engage in combat moving around each other in an imaginary circle, as in the manner of a dance. When an attack is made, it is by stepping out at an angle, inscribing an imaginary chord in the circle. If done correctly, this will carry one's own blade home, while avoiding the point of the adversary. The overall appearance is one of elegant menace.

At Prima Spada the stance, footwork and combat actions of attack and defence, are an informed interpretation of the techniques described in Thibault's fencing treatise, Acadamie de l'Espee, 1628 and Carranza's De la Filosofia de las Armas, 1569.

According to Carranza, the student swordsman assumes an upright, semi-profiled posture with the heels apart. The sword arm is held straight forward at shoulder-level holding the weapon with the blade parallel to the floor, menacing the opponent. In keeping with the Spanish School, but adjusting as required for safety and manageability, the Prima Spada style maintains a tall and erect posture, profiled slightly to reduce target and to enhance the sword-side or leading shoulder and sword arm attacking and defending effectiveness. A straight arm is maintained, but has the point lowered slightly away from the head, and pointing at the upper body.

Prima Spada follows the mannered, Courteous practices of the Spanish school, avoiding abrupt, rough or Vigorous swordplay. By emphasising Courtesy, the Prima Spada style encourages a slower and controlled form of swordplay.