While largely discounted as a genuine sport by most, professional wrestling has evolved from a minor source of “entertainment” to a culturally powerful multi-media complex. Attracting audiences in abundance of fifty million viewers on a weekly basis, professional wrestling has become the number one rated “sports-entertainment” program on television. In doing so, professional wrestling broadcasts challenge long-standing cultural constructions of sport in North America, while hyperbolising and unapologetically exploiting that which is highly entertaining about professional sports contests. Specifically, professional wrestling's mandate is to excite audiences via contrived and hyper-violent athletic competition. Drawing on Elias' (1978, 1983, 1994, 1996) and other process-sociologists' (Dunning, 1999; Maguire, 1999; Sheard, 1999) understanding of mimesis, it is argued here that professional wrestling derives the bulk of its cultural appeal from the ways in which the staged violence is presented as both “sporting” and “exciting” to audiences.

Professional wrestling is one of the most popular performance practices in the United States and around the world, drawing millions of spectators to live events and televised broadcasts. The displays of violence, simulated and actual, may be the obvious appeal, but that is just the beginning. Fans debate performance choices with as much energy as they argue about their favorite wrestlers. The ongoing scenarios and presentations of manly and not so-manly characters—from the flamboyantly feminine to the hypermasculine—simultaneously celebrate and critique, parody and affirm, the American dream and the masculine ideal. Sharon Mazer looks at the world of professional wrestling from a fan’s-eye-view high in the stands and from ringside in the wrestlers’ gym. She investigates how performances are constructed and sold to spectators, both on a local level and in the “big leagues” of the WWF/E. She shares a close-up view of a group of wrestlers as they work out, get their faces pushed to the mat as part of their initiation into the fraternity of the ring, and dream of stardom. In later chapters, Mazer explores professional wrestling’s carnivalesque presentation of masculinities ranging from the cute to the brute, as well as the way in which the performances of women wrestlers often enter into the realm of pornographic. Finally, she explores the question of the “real” and the “fake” as the fans themselves confront it. First published in 1998, this new edition of Professional Wrestling: Sport and Spectacle both preserves the original’s snapshot of the wrestling scene of the 1980s and 1990s and features an up-to-date perspective on the current state of play.

Professional wrestling is an unsporting sport, a theatrical entertainment that is not theatre. Its display of violence is less contest than ritualized encounter between opponents, replayed repeatedly over time for an exceptionally engaged audience. To watch wrestling and write about its performance is to attempt to come to terms with the significance of a highly popular performance practice as it intersects, exploits, and parodies the conventions of both sport and theatre. Rather than simply reflecting and reinforcing moral clichés, professional wrestling puts contradictory ideas into play, as with its audience it replays, reconfigures, and celebrates a range of performative possibilities. Beyond its spectacular elements, professional wrestling is an athletic performance practice, constructed around the display of the male body and a tradition of cooperative rather than competitive exchanges of apparent power between men as directed by the promoter. The fight is fixed, in the squared circle as in life.

We present findings from a critical discourse analysis of commentary from World Wrestling Entertainment’s pay-per-view Evolution, an all-female wrestling competition. Approximately 10 minutes of match commentary were analysed, attending to the discourses operating within the text; the subject positions offered by them; and the implications these may have for subjectivity, action, and practice. Two discourses are presented: female wrestlers as “real athletes in a real combat sport” and “female wrestlers as conventionally feminine.” The operation of these discourses through the text was interpreted as offering opportunities for women wrestlers to construct identities as serious sportspeople while at the same time limiting those opportunities through the requirement that they also demonstrate heteronormative femininity. We discuss these findings within the framework of neoliberal feminism and a postfeminist sensibility. We conclude that, contrary to its superficially feminist agenda, Evolution offers a narrow and contradictory space for women to construct legitimate identities as professional wrestlers, where discursive positions may be simultaneously offered and undermined by commentators.

Professional wrestling, often referred to as pro wrestling, or simply, wrestling, is a form of athletic theater centered around mock combat, with the Professional wrestling, often referred to as pro wrestling, or simply, wrestling, is a form of athletic theater centered around mock combat, with the premise that its performers are competitive wrestlers. The legitimate sport of wrestling has never been popular enough in the United States to sustain a professional scene because the action is considered too slow-paced. In the late 19th century, wre Professional wrestling, often referred to as pro wrestling, or simply, wrestling, is a form of athletic theater centered around mock combat, with the premise that its performers are competitive wrestlers. The legitimate sport of wrestling has never been popular enough in the United States to sustain a professional scene because the action is considered too slow-paced. In the late 19th century, wrestlers dealt with this by quietly fixing their matches so that they could display more entertaining action. Through improvisation and choreography, they could perform more spectacular moves that rarely (if ever) occurred in a real wrestling match, and thus managed to draw sustainable audiences. Match fixing in sports was frowned upon then as much as it is now, so the wrestlers kept the practice a secret. Wrestling promoters scripted victories for their more… Profes…

(predetermined) outcomes. It was no longer a real combat sport. Both boxing and wrestling remained … term shoot came to mean any move that is real. Takedown defenses vary, but the sprawl and … (2009) One of the advantages in professional wrestling is that promoters can arrange events

A shoot in professional wrestling is any unplanned, unscripted, or real-life occurrence within a wrestling event. It is a carny term shortened from "straight A shoot in professional wrestling is any unplanned, unscripted, or real-life occurrence within a wrestling event. It is a carny term shortened from "straight shooting", which originally referred to a gun in a carnival target shooting game that did not have its sights misaligned. Terminology such as this reflects the professional wrestling industry's roots in traveling carnivals. Initially, the te A shoot in professional wrestling is any unplanned, unscripted, or real-life occurrence within a wrestling event. It is a carny term shortened from "straight shooting", which originally referred to a gun in a carnival target shooting game that did not have its sights misaligned. Terminology such as this reflects the professional wrestling industry's roots in traveling carnivals. Initially, the term referred to practice or ability in catch wrestling as a legitimate sport. It has since come to mean any legit attack or fight in professional wrestling regardless of the combat system employed, and its meaning has broadened to include unscripted events in general. The opposite of a shoot is a work or kayfabe. 'Shoot' may also refer to legitimate 'shooting' for a takedown, as in interscholastic, amateur, and Olympic wrestling.