The relationship between sword and forearm is a wonderous example of the body moving in harmony with an object that was well designed. If you think a little deeper about the design of both sword and forearm there is a fantastic correlation to be had between the edges of the weapon and the bones within the forearm.
When I am manipulating a sword either cutting, thrusting, parrying, or even just freely moving the sword through space. I try to imagine the way the radius and ulna move. To be specific the way in which the false edge moves with the radius and in turn how the ulna moves with the true edge of the sword.
By visualising this relationship, I enhance my ability to move in synchronization with the blade and more over the way in which it may have been designed. In turn I am extending my intention through the whole sword. From thought, through my centre to the tip of the sword.
The amazing design of the forearm in terms of its ability to pronate and supinate allows for such a great range of movement. The combination and use of my thumb, pointer finger and middle to pinkie finger provide an interface with the hilt of the sword to gain control of the blade. With practice I can combine specific placements my fingers to advance the best performance of the blade regardless of the hilt shape i.e. swept hilt, sabre hilt or a simple cross guard.
The more the actor gains (literal) inside knowledge of the anatomical function of this process the more they will gain control of the sword being manipulate in their hands. I would even go so far as to say any prop being wielded by an actor could benefit from this greater understanding.
To be continued…