Rapiirimiekkailua Venetsiassa kapealla kujalla. On helppo kuvitella että rapiiri on omimmillaan juuri tuollaisessa ympäristössä ja tuon tapaisia otteluita tapahtui.
Oletko miettinyt etupotkijuutta? Potkua tukemalla pääset etupotkijoiden omalle alueelle, jossa asiantuntijat vastaavat kysymyksiin. Lisäksi etupotkijana voit selata Potkua näkemättä yhtään mainosta. Tutustu ja mieti.
Haku löysi 73 tulosta
- elo 2, 2018, 14.40
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
- syys 25, 2011, 14.35
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
[youtube][/youtube]
Ei tuosta voi muuta sanoa kuin että aika hemmetin hienoa.
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Tässä on hyvä esimerkki siitä, miten kahden eri tradition miekkailijat toimivat. Hauska nähdä myös hyvin tehtyä Destrezaa.
Ei tuosta voi muuta sanoa kuin että aika hemmetin hienoa.
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Tässä on hyvä esimerkki siitä, miten kahden eri tradition miekkailijat toimivat. Hauska nähdä myös hyvin tehtyä Destrezaa.
- elo 3, 2011, 08.44
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
[youtube][/youtube]
"Munalla on loistava rannetyöskentely".
"Munalla on loistava rannetyöskentely".
- maalis 14, 2011, 15.30
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Tässä olisi vähän paremmasta Fioresta näyte, Guyn ja Ilkka Hartikaisen näytösottelu, WMAW 2009.
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- maalis 14, 2011, 08.56
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Ei tuo ihan vakuuttanut. Aika omituisia ratkaisuja tuolla SWASH-videolla näkyi, joskin ihan hyviäkin. Itse kun en ole vielä freeplayhin päässyt pitkälla miekalla olen kuitenkin varmaan väärä henkilö arvioimaan.
Täysi nopeus lienee aika suhteellista. Melko varovasti nuo näyttivät ottavan matsia. Täysi nopeus on tietysti eri asia kuin täysi voima.Sellaisen jutun tästä voi toki todeta, että kukaan ei kuole eikä vammaudu vaikka tapellaan teräsmiekoilla ja täydellä nopeudella...
- kesä 22, 2010, 17.09
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Välttämättä tämä ei ole miekkailullisesti kovin ihmeellinen pätkä, mutta esimerkki siitä kun harrastajat ryhtyvät tekemään asiaan liittyvää lyhytelokuvaa.
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[youtube][/youtube]
- touko 4, 2010, 10.28
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Hyvin jaksettu.DeusVult kirjoitti: Eeppinen 14 minuutin sparri,
- helmi 16, 2010, 10.01
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Hauska idea. Laitetaan kamera kiinni maskiin ja sitten ottelemaan. Tulos näyttää tältä:
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- helmi 14, 2010, 11.41
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Ei tällä kertaa videolinkki, vaan artikkeli historiallisesta henkilöstä, naisesta joka ei oikein sopinut 1600-luvun lopun naisille asetettuihin vaatimuksiin. Julie d'Aubigny oli oopperalaulaja ja aikautensa kuuluisimpia kaksintaistelijoita, tulinen luonne, ilmeisesti biseksuaali.
http://en.wikipedia.org/wiki/Julie_d'Aubigny" onclick="window.open(this.href);return false;
http://en.wikipedia.org/wiki/Julie_d'Aubigny" onclick="window.open(this.href);return false;
Julie (or Julia) d'Aubigny (1670–1707), also known as La Maupin, was a 17th century swordswoman and opera singer. Her tumultuous career and flamboyant life were the subject of gossip and colorful stories in her own time, and inspired romances and novels afterwards.
Early life
Julie d'Aubigny was born 1670 to the family of Gaston d'Aubigny, who was a secretary to Louis de Lorraine-Guise, comte d'Armagnac, the Master of the Horse for the king Louis XIV. Her father trained her in dancing, literacy, drawing and fencing, possibly for self-defense. In her teens she became a mistress of the Count d'Armagnac and through him was introduced in the court. The count had her married to sieur de Maupin of Saint-Germain-en-Laye. Soon after the affair ended, her husband received an administrative position in the south of France but she decided to stay in the city.
Wild reputation and career
In the following years, d'Aubigny gathered a reputation as a wild woman who hit shopkeepers and fought duels with young aristocrats. She became involved with an assistant fencing master named Serannes. In about 1688, when lieutenant-general of the police Gabriel Nicolas de la Reynie tried to apprehend Serannes for killing a man in an illegal duel, the pair fled the city to Marseille.
In Marseille, d'Aubigny and Serannes gave duelling exhibitions, sang and told stories in inns. When dueling, d'Aubigny dressed in male clothing but did not conceal her gender, which served to increase interest in her. While in Marseille, it is said she joined the music academy of Pierre Gaultier singing in the theatre under her maiden name.
Eventually she grew bored of Serannes and became involved with a young lady. When the girl's parents put her away in a convent in Avignon, d'Aubigny followed, entering the convent as a novice. There she stole a body of a dead nun, placed it in the bed of her lover and set the room afire to cover their escape. Their affair lasted for three months before the young lady returned to her family. D'Aubigny was charged in absentia - as a male - with kidnapping, body snatching, arson and failing to appear before the tribunal. The sentence was death by fire.
D'Aubigny left for Paris and again earned her living by singing. Near Poitiers she met an old musician named Marechal, who began to teach her until his alcoholism got worse and he sent her on her way to Paris. Along the way, she continued to earn her living singing dressed as a man.
In Villeperdue she fought a victorious duel against three squires and drove her blade through the shoulder of one of them. Next day she asked for his health and found out he was Louis-Joseph d'Albert Luynes, son of the Duke of Luynes. Next evening one of his companions came to offer his apologies and she appeared in his room in female clothing. They became lovers.
After the Count d'Albert recovered and had to return to his unit, d'Aubigny continued to Rouen. There she met Gabriel-Vincent Thévenard, another singer and began a new affair with him. They continued together towards Paris. In Marais she contacted Count d'Armagnac for help against the sentence hanging over her and he convinced the king to nullify it.
[edit] Opera
In Paris she began to use the name of Mademoiselle Maupin. The Paris Opéra hired Thévenard in 1690, but initially refused her. She befriended an old singer Bouvard who convinced Jean Nicolas Francin, master of the king's household, to accept her in the opera. She debuted at the Paris Opéra as Pallas Athena in Cadmus et Hermione by Lully the same year.
Due to both her beautiful contralto voice and her flamboyance, she became quite popular with the audience. Her relationship with her fellow actors and actresses was tempestuous. From the first she was enamoured with Marie Le Rochois, at the time the Opera's star. This quickly embroiled her in arguments and even duels with other members of the troupe. She also fell in love with Fanchon Moreau, another singer who was the mistress of the Great Dauphin, and tried to commit suicide when she was rejected.
[edit] Duellist
On the side, she became a professional duelist. When she fought three noblemen in a court ball around 1693, she fell afoul of the king's law that forbade duels in Paris. She fled to Brussels to wait for calmer times. According to the legend, she was briefly a mistress of Maximilian Emanuel, Elector of Bavaria.
According to documented theatre history she appeared at the Opéra du Quai au Foin from November 1697 to July 1698, after which she returned to the Paris Opera, where she replaced Marie Le Rochois (who had retired), from the end of the year. Until 1705 La Maupin sang in new operas by Pascal Collasse, André Cardinal Destouches and André Campra. In 1702, André Campra composed the role of Clorinde in Tancrède specifically for her bas-dessus (contralto) range. She later reconciled with her husband and lived with him until his death in 1701 or 1705. She appeared for the last time in La Vénitienne by Michel de La Barre (1705). After she retired from the opera in 1705, she entered a convent in Provence, where she died in 1707.
Lisää tästä naisesta: http://www.eldacur.com/~brons/Maupin/LaMaupin.html" onclick="window.open(this.href);return false;Early life
Julie d'Aubigny was born 1670 to the family of Gaston d'Aubigny, who was a secretary to Louis de Lorraine-Guise, comte d'Armagnac, the Master of the Horse for the king Louis XIV. Her father trained her in dancing, literacy, drawing and fencing, possibly for self-defense. In her teens she became a mistress of the Count d'Armagnac and through him was introduced in the court. The count had her married to sieur de Maupin of Saint-Germain-en-Laye. Soon after the affair ended, her husband received an administrative position in the south of France but she decided to stay in the city.
Wild reputation and career
In the following years, d'Aubigny gathered a reputation as a wild woman who hit shopkeepers and fought duels with young aristocrats. She became involved with an assistant fencing master named Serannes. In about 1688, when lieutenant-general of the police Gabriel Nicolas de la Reynie tried to apprehend Serannes for killing a man in an illegal duel, the pair fled the city to Marseille.
In Marseille, d'Aubigny and Serannes gave duelling exhibitions, sang and told stories in inns. When dueling, d'Aubigny dressed in male clothing but did not conceal her gender, which served to increase interest in her. While in Marseille, it is said she joined the music academy of Pierre Gaultier singing in the theatre under her maiden name.
Eventually she grew bored of Serannes and became involved with a young lady. When the girl's parents put her away in a convent in Avignon, d'Aubigny followed, entering the convent as a novice. There she stole a body of a dead nun, placed it in the bed of her lover and set the room afire to cover their escape. Their affair lasted for three months before the young lady returned to her family. D'Aubigny was charged in absentia - as a male - with kidnapping, body snatching, arson and failing to appear before the tribunal. The sentence was death by fire.
D'Aubigny left for Paris and again earned her living by singing. Near Poitiers she met an old musician named Marechal, who began to teach her until his alcoholism got worse and he sent her on her way to Paris. Along the way, she continued to earn her living singing dressed as a man.
In Villeperdue she fought a victorious duel against three squires and drove her blade through the shoulder of one of them. Next day she asked for his health and found out he was Louis-Joseph d'Albert Luynes, son of the Duke of Luynes. Next evening one of his companions came to offer his apologies and she appeared in his room in female clothing. They became lovers.
After the Count d'Albert recovered and had to return to his unit, d'Aubigny continued to Rouen. There she met Gabriel-Vincent Thévenard, another singer and began a new affair with him. They continued together towards Paris. In Marais she contacted Count d'Armagnac for help against the sentence hanging over her and he convinced the king to nullify it.
[edit] Opera
In Paris she began to use the name of Mademoiselle Maupin. The Paris Opéra hired Thévenard in 1690, but initially refused her. She befriended an old singer Bouvard who convinced Jean Nicolas Francin, master of the king's household, to accept her in the opera. She debuted at the Paris Opéra as Pallas Athena in Cadmus et Hermione by Lully the same year.
Due to both her beautiful contralto voice and her flamboyance, she became quite popular with the audience. Her relationship with her fellow actors and actresses was tempestuous. From the first she was enamoured with Marie Le Rochois, at the time the Opera's star. This quickly embroiled her in arguments and even duels with other members of the troupe. She also fell in love with Fanchon Moreau, another singer who was the mistress of the Great Dauphin, and tried to commit suicide when she was rejected.
[edit] Duellist
On the side, she became a professional duelist. When she fought three noblemen in a court ball around 1693, she fell afoul of the king's law that forbade duels in Paris. She fled to Brussels to wait for calmer times. According to the legend, she was briefly a mistress of Maximilian Emanuel, Elector of Bavaria.
According to documented theatre history she appeared at the Opéra du Quai au Foin from November 1697 to July 1698, after which she returned to the Paris Opera, where she replaced Marie Le Rochois (who had retired), from the end of the year. Until 1705 La Maupin sang in new operas by Pascal Collasse, André Cardinal Destouches and André Campra. In 1702, André Campra composed the role of Clorinde in Tancrède specifically for her bas-dessus (contralto) range. She later reconciled with her husband and lived with him until his death in 1701 or 1705. She appeared for the last time in La Vénitienne by Michel de La Barre (1705). After she retired from the opera in 1705, she entered a convent in Provence, where she died in 1707.
- tammi 31, 2010, 11.40
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
10 minuutin dokumentti Slovakialaisen historiallisen miekkailun ryhmän toiminnasta. Schermus Pictus[/linkki] Sekä painia että miekkailua. Reipas meininki.
- tammi 16, 2010, 14.11
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Theresa Wendland (Chicago Swordplay Guild) vs otos Hammaborgin miekkailijoista. Hyvin ne vetää. Mielenkiintoiseksi nämä tekee myös Fiore vs. Liechtenauer-asetelma.
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- joulu 1, 2009, 15.39
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Paul Wagnerin porukan "Prizefight". Pitkiä miekkoja, miekkaa ja kupurakilpeä, korikahvaisia, pitkää sauvaa, rapiiria, sapelia...
[youtube][/youtube]
[youtube][/youtube]
- syys 22, 2009, 12.47
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
No onpas.
Guy vs. Paul Wagner. Aseina korikahvaiset "broadswordit", joskin näyttää Guyn aseena olevan hänen schiavonansa. Tiedoksi, että Paul on ehkä paras asiantuntija maailmassa George Silverin tyylin suhteen, Silverhän oli siis tämä 1500-luvun lopun miekkamestari, joka inhosi rapiiria aseena ja italialaista rapiirityyliä erityisesti, kuten Risto taisi aikaisemmin mainita.
[youtube][/youtube]
Guy vs. Paul Wagner. Aseina korikahvaiset "broadswordit", joskin näyttää Guyn aseena olevan hänen schiavonansa. Tiedoksi, että Paul on ehkä paras asiantuntija maailmassa George Silverin tyylin suhteen, Silverhän oli siis tämä 1500-luvun lopun miekkamestari, joka inhosi rapiiria aseena ja italialaista rapiirityyliä erityisesti, kuten Risto taisi aikaisemmin mainita.
[youtube][/youtube]
- tammi 8, 2009, 12.46
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Smallswordia. "Milo from Linacre fights Jay from MSG with smallsword at the 2005 HFC".
Milo (vaaleassa takissa) käyttää Hopen tyyliä. Harvinaista että tätä näkee. Tosin eräässä vaiheessa miekkailu taitaa unohtua kummaltakin
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Milo (vaaleassa takissa) käyttää Hopen tyyliä. Harvinaista että tätä näkee. Tosin eräässä vaiheessa miekkailu taitaa unohtua kummaltakin
[youtube][/youtube]
- joulu 9, 2008, 17.34
- Keskustelualue: Schola Dimicantium
- Aihe: Miekkailua
- Vastaukset: 387
- Luettu: 78124
Miekkailua
Vaikea sanoa. Joitakin yhtäläisyyksiä varmaan on ja käsittääkseni filippiiniläiset olivat mestareita ottamaan vastaan vieraita vaikutteita ja sulauttamaan ne omaan kulttuuriinsa.Risto R kirjoitti: Tuo Espanjalaisen rapiirimiekkailun ja escrima homman sekoittamisartikkeli oli aika mielenkiintoinen:
Eskrima, Spanish rapier, and the Lost Continent of Mu
Tuossa oli tälläinen lausahdus:Mikä sinällään on mielenkiintoista kun noi 1500-luvun italialaiset taitaa olla niitä mistä löytyy kahden miekan tekniikkaa. Ihan niinkuin escrimastakin?While most Southern European aristocrats were learning rapier techniques by the late 1500s, some of the most basic sword and dagger, sword and buckler, and sword and target techniques underlying the systems of Marozzo (1536) and Agrippa (1553) probably still formed the core edged weapons skills of the colonists as they set up Spanish rule in the Philippines during the mid-1500s.
Miten lienee, onko tällä mitään tekemistä "La Verdadera Destrezan" kanssa? Näyttää teatterimiekkailulta. " onclick="window.open(this.href);return false;