Tim,
I will take your advice into consideration for the future. I will need to design a way to do full-speed or near full-speed demonstrations without any risk to my partner.
">to sum up what you are saying (if I may be so bold), is that the power of the cut comes from a well executed circular motion combined with footwork, timing, speed and strength. Not just from physical power executed by brute force."
This quote is Brian's? Sorry, having trouble keeping track now

This sums up exactly what I am trying to say as well.
Shane also did a nice job. I very often admonish students to "do it as slowly as is necessary to get it right". We can add speed later. And I believe at the highest levels the art would look effortless. Proper body mechanics and alignment and moving the sword through the proper arc would create all the power one would need while allowing them to remain entirely balanced and collected. The examples of using a saber from horseback need to be examined in context. It is not a longsword on foot.
Stacy, you raise a point worth discussing. At what point do we consider the opponent armoured and alter our technique to meet the challenge? Certainly if his hands, wrists, neck face and head are unarmoured then cutting to these remains the focus. Thrusting in the way that Fiore seems to dictate would penetrate clothing quite easily. Fiore uses a great deal of thrusting, most of which involves advancing the entire body to drive the point home.
And as to discussing differences in order to get at a better understanding - absolutely. However, in our discussions we must keep an open mind and not at any time put forward one method emotionally as superior to another or use ad hominems as part of the discussion. As any good negotiator will tell you, start with the common ground, venture onto ground likely to expose more commonalities, then tackle the small differences, saving the largest for the end
