"counterplay" is correctly spelled and is used in written English.
You can use the word "counterplay" to refer to a response to an action or strategy, usually in the context of a game or competition. For example, "He knew that he needed to devise an effective counterplay if he wanted to win the game."
But Black could obtain counterplay by advancing the e-pawn to e5 and exchanging it on d4 a surrender of the centre that had been anathema to Tarrasch.
As Hepworth's sculpture matured during the late 1930s and '40s, she concentrated on the problem of the counterplay between mass and space.
But his games revealed rich resources for counterplay on kingside or queenside.
Rather than wait for White to attack, Morozevich tried to mix it up with 17... b5, and it worked, as he got a freer position and counterplay.
Bauer gave back a rook for a knight (28... Rd3) hoping that it would give him some counterplay.
(Bobby Fischer's last words, quoted by Robert Desjarlais, "Counterplay") Our finalists are C and E: the geopolitical petulance of Berlusconi vs. the melancholy death-bed wisdom of Bobby Fischer.
After Kramnik played 10... d5, he had a good counterplay against Caruana's center.
The move order is very delicate in the Slav and while 4...e6 is far from unnatural it does give White the opportunity to reply as Ponomariov does with 5 b3 preventing counterplay based on...dxc4 and after Bxc4 b5. 5 b3 Nbd7 6 Bb2 Black Bd3 0-0 8 0-0 b6 9 Nc3 Bb7 10 Rc1 Rc8 11 Qe2 Black's plan of simply fianchettoing the c8 bishop has become very respectable recently but there is a vital nuance.
And what makes the image of these bereaved and solemn men so moving is not just their intimacy in grief but that Titianesque counterplay: the arrangement of heads against dazzling daylight.
When I first saw the game, I assumed that White must have some more controlled way of playing and that the following break-out was due to Topalov's still wobbly form but in fact with the exchange of dark squared bishops Black now has the better minor piece and so it seems very hard to progress without allowing at least some counterplay.
But before Karpov commits to anything as decisive as an advance, he manoeuvres, getting his pieces exactly where he wants them, neutralising his opponent's chances of counterplay.
