Foul Play Soccer’S “Infamous Thespians” and the Cultural Politics of Diving Natalie Alvarez

Home , Artur Boruc, Eduardo da Silva, Foul (sports)

Foul Play Soccer’s “Infamous Thespians” and the Cultural Politics of Diving Natalie Alvarez

On 25 August 2009, during a Champions League match between Arsenal and Celtic, Arsenal forward Eduardo da Silva was awarded a penalty kick after Celtic goalkeeper Artur Boruc tripped him — or so the referee thought. From the referee’s line of sight, Boruc’s leg made contact with da Silva’s foot, sending da Silva into an emphatic tumble. But a post-game Union of European Football Associations (UEFA) disciplinary panel reviewed video footage and deter- mined that there was, in actuality, no contact between the players and that da Silva had, in fact, deceived the referee.1 For the UEFA officials, da Silva’s fall was unmistakably staged and a clear case of what the Fédération Internationale de Football Association (FIFA) calls “simulation,” defined in itsLaws of the Game as “attempts to deceive the referee by feigning injury or pretend- ing to have been fouled” (2015:125). The UEFA subsequently banned da Silva for two matches.

1. See Dailymotion (2008) for a video of match highlights that includes the da Silva–Boruc clash at the 50-second mark.

Figure 1. Eduardo da Silva moves into the “archer’s bow” after Artur Boruc’s challenge during the 25 August 2009 Champions League match. (Courtesy of Andy Hooper/Daily Mail/Solo Syndication)

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29 September 2021 Soccer’s “Infamous Thespians” 11 - . This dis- . “bad” acting only “bad” the nature of the encounter remains

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Spanish official Manuel Enrique Mejuto Gonzalez Spanish official Manuel Enrique Mejuto in the form of acting that becomes in the form of acting

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is perceived to infiltrate the game of soccer is perceived to infiltrate

Referees share tips on how to spot a fake from a foul, spot a fake from a foul, tips on how to Referees share — 3

with lurid video stills of theatrical dives, archiving a repertoire archiving dives, video stills of theatrical with lurid 2 Silva tumbles to the ground. (University (University Politics of Knowing Simulations and the Immersive of Difference: Stages da

(Palgrave Macmillan, forthcoming). Macmillan, [email protected] (Palgrave —

a Silva had recently recovered from a broken leg suffered in a Premiere League match between Arsenal and and Arsenal between match League Premiere a in suffered leg broken a from recovered recently had Silva a

will be using soccer and football interchangeably in this paper, since consistency is an impossibility given that that given impossibility an is consistency since paper, this in interchangeably football and using soccer be will (Playwrights Canada Press, 2013). She is also is also 2013). She Press, Canada (Playwrights Plays Latina/o Canadian Vivientes: Eight Fronteras some of the sources I refer to in this paper use the U.S. term “soccer,” while others use “football.” use others while “soccer,” term U.S. the use paper this in to refer I sources the of some argue—particularlysome as impact, that of trauma the so 2008), the (Hodges 2008 February in Birmingham forgives articlethe example for (see “Eduardo own their as Silva da embraced who fans and media Croatian tackle)— the after fans Croatian from threats death received Taylor that notes which tackle,” horror for Taylor injury another from himself protect to attempt an in response reflex affective Silva’s da in resulted have might 2008). (Reuters/AFP Ever! (Video)” (Soccernews.com 2010); “The Worst Soccer Dives in History” (Sportige.com 2011); “Poor “Poor 2011); (Sportige.com History” in Dives Soccer Worst “The 2010); (Video)” (Soccernews.com Ever! “The and 2013); (Sunderland Football” World in Divers Biggest “10 n.d.); (Ayoub Flop” Soccer on Acting over documenting archive thorough impressively an (Harty For 2014). Soccer” in Divers Worst 10 Undisputed (2011). football” in divers Shame: of “Hall Mersbergen’s van Dick see decades, several spanning dives 230 I D S The banning of da Silva reignited a flurry of commentary among sports journalists decrying journalists decrying among sports a flurry of commentary of da Silva reignited The banning

4. 3. 2. the demise of the game as a result of rampant simulation or “diving.” These online commentar These “diving.” or of rampant simulation of the game as a result the demise - the game’s most infa that inventory of websites and blogs among a proliferation ies circulate “‘thespians’mous in the field” of “bad acting” on the soccer pitch. on the soccer “bad acting” of Sustainable Tools for Precarious Subjects: Performance Actions and Human Rights in the Rights in the and Human Actions Performance Subjects: for Precarious coeditor of Sustainable Tools Americas (Palgrave Macmillan, forthcoming), Macmillan, and the editor of two War (Palgrave forthcoming), Theatreof Michigan, & Performance and and performance: Theatre Latina/o Canadian theatre books on Latina/o Canadian and Natalie Alvarez is Associate Professor in the Department of Dramatic Arts at Brock University. She is is She University. at Brock in the Department of Dramatic Arts is Associate Professor Alvarez Natalie the author of sees the tumble and enrages the Celtics by awarding a penalty kick; da Silva scores, securing awarding a penalty kick; da Silva scores, sees the tumble and enrages the Celtics by League group phase. safe passage into the Champions 3-1 victory and the team’s Arsenal’s disciplinary committee reviews footage of a UEFA by the Celtic clamor, perhaps, Pressured, no contact in fact, determines that there is, Boruc, the critical encounter between da Silva and and imposes the ban on da Silva on decision, overrules the referee’s between the two players, charges of simulation.

Injuries Fake and Dives Soccer “Funniest 2010); (Rojter Ever” Dives Soccer Worst the of “Ten example: for ee The da Silva Dive The da Silva 1 Replay a score of with League play-off match, At 25 minutes into the Celtic-Arsenal Champions goalkeeper the Brazilian-born Croatian striker Eduardo da Silva clashes with Celtic nil-nil, approach. Boruc slides legs-first toward the ball in a challenge against da Silva’s Artur Boruc. the tackle Whether by impact or in anticipation of disputed when it becomes visible by mistake when it becomes visible difference in an increasingly of delimiting ideas of nation and cultural course serves as a means by the forces of globalization. “threatened” transnational game while behavioral psychologists study the physical “tells” that betray the performed foul from performed foul from that betray the “tells” study the physical psychologists while behavioral in both its the- simulation in soccer, When examined as a performance strategy, the real injury. which criteria of realist acting, reveals a tacit reliance on the aesthetic atrics and its reception, A performance difference. that services assumptions about cultural in turn provides a discourse high- number of infamous dives, with references to a select simulation, analysis of the da Silva An antitheatri- strategy. at work in this controversial performance lights the cultural politics when theatricality cal discourse emerges Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29September 2021

12 Natalie Alvarez n his analysis of the moment of the dive captured photography, in sports Luke Healey argues that “[r]ather than (1985:33). Butthe “foul play” ofdivingisalsoillustrative ofwhatSchechnercalls “dark play.” struction/reconstruction ofactualities:theprocessesframing, editing, andrehearsing[...]” and effect, pastandpresent, formandcontent, et cetera[...]toanemphasisonthedecon- ior,” as RichardSchechnermaintains, “is changingfromquantifiabledifferencesbetweencause sus fouls, isacompellingexampleofthewaysinwhich an “understanding ofhumanbehav- analyses whenthepro-filmic “reality” ofvideofootagefails to corroboratechargesoffakesver da Silva’stumbleadheretothetraditionalrepertoireofdives? several hundredhoursobserving “star turns” ofinfamousdives onthefield. To whatextentdid charted bybehavioralpsychologistsandnotedseasonedreferees who, together, havelogged to verifycontact, theycanturntoaratherfulsomerepertoireofdivingbehaviorthathasbeen foul intheheatofmatch? While UEFA panelistsmaynotbeabletorelyoncamerafootage can’t revealanythingwithanycertainty, whathopedorefereeshaveofdiscerningfakefrom analysis” ofthedaSilva–BorucencounterthatSilvawassimulating? And further, ifreplays aging playerstomakethemostoutofslightestcontact: Guardian, Paul Wilson’s concernisthattheda Silvaincidentsetadangerousprecedent, encour the UEFA hesitantaboutcharginganotherhigh-profileplayerwithsimulation. Writing forThe already confusedareaofanti-divingregulations” andtheentireappealsprocesswilllikelymake sion onthepenalty” (inHughes2009). According toMattHughes, thereversal “muddie[s] the not establishedtothepanel’ssatisfactionthatrefereehadbeendeceivedintakinghisdeci- UEFA Appeals Bodyultimatelyannulsthebanon14September2009, determiningthat “it was Celtic goalkeeperandfeltcontactonmyfootthenlostbalance” (inHughes2009). The soon asIhadpossessionoftheballheadedtowardsgoalatfullspeed. Iwasveryclosetothe tact betweentheplayers. DaSilvaontheencounter: “All Irememberoftheincidentisthatas from differentcameraanglescontradicts Arsenal’s evidenceandsuggeststhatthereisnocon- strating thatthereis, infact, contactbetweenthetwoplayers. However, separatefootagetaken eree MejutoGonzalez. Fortheappealshearing, the Arsenal clubproducesfootagedemon- more replaysoftheencounterandweighsthemagainstdaSilva’stestimonythatref- these ostentatiousfallsattheslightest “powder-puff contact” emasculatesthesport. conclusive evidenceofdiving, 2014). Butif, asUEFA PresidentMichelPlatiniclaims, camerafootageisunabletoprovide match atthe1986FIFA World CupwhenMaradonausedhishandtoscoreagoal(Hanson a repeatofthe ‘Hand ofGod’” Nicholas Hansonrecentlyremarked, “With thequalityoftoday’scameras, it’shardtoimagine enabling viewerstowatchandreviewfootagewithgreaterdetailease. As mycolleague HD camerasandSkycamsthatallowheightenedpicturequalityflexiblecameraangles tion remainswhethertheperceivedsurgeinsimulationisaresultofanincreaseuse 6. 5.

Simulation insoccer, andthedemandsitplacesonUEFA officialstoconductperformance not justinvitingthefoul, butbyfallingostentatiouslytothefloorunderanysortof making themostofanysortcontact. Indeed, theyarefreetotrywinpenaltiesby In plainerterms, thesituationnowseemstobethis. Playersshallnotbepunishedfor The matteristakentotheUEFA Appeals BodyinSeptemberof2009, whichreviews O nerability” (in Connor 2013). that depict the male body out of control, wearing a ‘sculptural expression of agony’ in an extreme gesture of vul- an expression of masculine strength and control, the exaggerated simulation of a foul produces a set of images I As Wilson’s commentreveals, thereis clearlyaconcernthatdivingisontheriseand a cornerproducestheusualamountofpenaltyareajostling. (Wilson 2009) powder n Platini’s opinions about the use of video evidence in determining simulation, see Matt Hughes (2009). -puff contact. Standbyforhalfadozenattackingplayersdroppinglikeflieswhen 6 whatmadeUEFA officialssosureintheirinitial “performance

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the infamousmomentduring Argentina versusEngland 5 The ques- The - - Soccer’s “Infamous Thespians” 13 - Cerro Muriano, Muriano, Cerro the nature of the encounter remains dis

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Loyalist Militiaman at the Moment of Death, Death, of Moment the at Militiaman Loyalist Figure 2. Figure Photos) Robert Capa/Magnum by (Photo 5 September1936. draws

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this, this, too,

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Silva tumbles to the ground. Before hitting the ground, da Silva, knowingly or da Silva, Before hitting the ground, Silva tumbles to the ground.

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his back arches like a bow, his back arches like a bow, puted from the classical repertoire of dives: both arms swing up and out, and his legs kick up and back, before tumbling to the ground. “I Da Silva contact: remembers [...] felt contact on my foot then The prob- lost my balance.” according to Paul however, lem, codi- Morris and David Lewis’s fication of deceptive behavior in is that the contact soccer dives, would “felt” da Silva says that he not have resulted in the set of bodily behaviors he produced. like most soccer tackle, Boruc’s involved contact below tackles, “conservation of momentum would involve the body going forward following which, the waist, “out and and arms going “forward in order to spot the landing,” the head tilting over the legs,” what Instead, (Morris and Lewis 2010:12). down to steady the body and/or prepare for impact” when the tack- bow,” “archer’s movements is what Morris and Lewis call the we see in da Silva’s “the chest is thrust out; the head is back; the arms “resembles a drawn bow”: body led player’s and bent at are fully raised and pointing upwards and back; the legs are raised off the ground bow to the famous photograph They liken the bodily posture of the archer’s (2010:8). the knee” though the soccer War, by Frank Capa of the death of a loyalist soldier during the Spanish Civil that Morris and Lewis note, “it is surprising,” is typically more exaggerated: they observe, feint, unknowingly, intentionally or unknowingly, unintentionally remains disputed and will never be known for certain The da Silva Dive The da Silva 2 Replay League play-off match and a score of nil- At 25 minutes into the Celtic-Arsenal Champions the Brazilian-born Croatian striker Eduardo da Silva clashes with Celtic goalkeeper nil, approach. Boruc slides legs-first toward the ball in a challenge against da Silva’s Artur Boruc. the tackle Whether by impact or in anticipation of Dark play “may be conscious playing, but it can also be playing in the dark when some or even when some or even be playing in the dark but it can also “may be conscious playing, Dark play “played.” being I would add, (1993:36) or, they are playing” don’t know that all of the players who and who isn’t, who is playing play introduces between of uncertainty dark The dynamic - among fellow play referees can inspire the ire hoodwinked explains who doesn’t, knows and says In dark play, foul. of a feigned “play” oblivious to the alike when they remain ers and fans each other capable of cancelling each seemingly realities coexist, “contradictory Schechner, inte- “not own rules”; the end of dark play is breaks its dissolves frames, “subverts order, out”; it The outrage expressed by fans (36). and gratification” excess, deceit, gration but disruption, and the evident desire foul, over the theatrical excess of the feigned and sports commentators a tacit appeal to a Platonic logic in make frames of fake and foul, to hold fast to the dissolving - and dis “impermeable frames” as are treated appearance and reality, which seeming and being, to anxieties concerning cultural as we shall see, that are tethered, crete ontological categories since it throws into relief the myth, play of diving gives lie to this Platonic The dark difference. on the soccer pitch. unbounded play of performance Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29September 2021

14 Natalie Alvarez Elliott 2006). a peektoseewheretherefereeis” inanefforttoensuretheperformancehasaudience(in unsubtle intheirattemptstosellthesimulation;simulatorwilloften “roll overand[...]take to hedgehisbetsforapenaltykick. Mostegregiously, Hallobservesthatsimulatorsareoften far infrontofhimandit’sheadedoutbounds, theplayerwillhitgroundhimselfhoping inordertofacilitatethetumble. Ifhepushestheballtoo together ordragthetoesonturf” and Lewis, Hallalsolooksforbehavioral “tells”: asimulatingplayerwilloften “bring hisfeet is anincentivetosimulateafoulintheredzonegeneratepenaltykick. ButlikeMorris the timeofatheatricaltumble:ifscoreistiedortackledplayer’steamlosing, there kick, which30percentofthetimeyieldsagoal(Elliott2006). Hallalsoconsidersthescoreat This isthearea30to35yardsoutfromgoalmouthwhereafoulwilllikelydrawpenalty tified whathecallsthe “redzones” or “dangerzones” wheresimulationtypicallyhappens. National PublicRadio’sDebbieElliott, CanadianinternationalsoccerrefereeBrianHalliden- field identifydeceptionthroughbehavioralcontinuitiesandcorrelations. Inaninterviewwith age ofsoccermatchesinordertoidentifybreaksthe “behavioral logic,” refereesonthe his face. the injury, suchaswhenaplayertakesanelbowtothechestbutfallsgroundclutching when thereisnoconsistencybetweenthepointofcontactplayersandlocation that were “not partofthemomentumfall”;and(3) “lack ofcontactconsistency(ornot),” impact ofcontactis “supplemented bythetackledplayer,” suchasanadditionalfewsomersaults of thetackle;(2) “lack ofballisticcontinuity(ornot),” whenthemovementgeneratedby tinguity (ornot),” whenthereisa “time lag” betweenthecontactofplayersandeffect tackled player” (10). Inadditiontothe “archer’s bow,” theseinclude:(1) “lack oftemporalcon- “deceptive” because “they donotfitthebehaviorallogicofinteractionbetweentacklerand of thecollision(2010:11–12;emphasisadded). ior isclearlynoticeable[...]the ‘archer’s bow’isusedbytheplayertoconvey theextremenature they speculate, doesserveanimportantfunctionforthetackledplayer, namely, that “the behav- impact onthebodywouldbe (2010:11–12).‘archer’s bow’” The extremityofthemovement, deception”; thatis, “it isdifficulttoconceiveofacollisioninanycontextwheretheresultant into accounttheallegationssurroundingCapa’s photothatit, too, wasstaged. of thebehaviorsobservedintackledplayers(2010:12). Curiously, MorrisandLewisfailtotake the behaviordepictedinCapaphotographofdyingsoldieris “less extremethanmany performance festivals in2013and2014, featuringasoccermatch, albeitahighlyaestheticized Kompani’s performance ofADance Tribute tothe Art ofFootball, whichtouredinternational atrics” (2008). What wouldKirschbaummake, Iwonder, ofproductionssuchasJoStrømgren cer matchbreakoutonstage. And sowhenI’mwatchingasoccermatchIdon’t wanttoseethe- are “starting tospoilthefootball”: “When Igotothetheatre, Iwouldn’t expecttoseeasoc- the enemyofgame. “Theatricals,” ErikKirschbaumpostedonthe ReutersSoccerBlog, and discernmentoffanstheworldover. Theatricality, thesefansandtheirblogsmakeclear, is tle attempttopassoffasimulation, asthoughitwerean insulttothecollectiveintelligence can triggertheireofspectatorswhoseemtotakeitpersonally whenaplayermakesanunsub- or restauranttowatcha World CuporEuropeangamecanattest, anobvioussimulation unconvincing actingastheactofdeceptionitself. As anyone whohaseversatinacrowdedbar innumerable websitesandblogsdevotedtoinfamoussimulations seemsdirectedasmuchatthe why itisthat “players seemsuchpoordeceivers” (2010:10). Indeed, theoutrageexpressedin Morris andLewisadmitthatthetacklesareperformed “in analmost theatricalmanner” andask FoulOn Acting While behavioralpsychologistssuchasMorrisandLewisspendhourswatchingvideofoot- Morris andLewiscatalogueother “tells” ofdeceptivebehavior, whichtheycategorizeas What iscuriousaboutthe “archer’s bow,” MorrisandLewisassert, isthatit “unique to Soccer’s “Infamous Thespians” 15

- “form of artistic per A now defunct website A now defunct website a

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article “Approaches to Theory/Criticism” and in his first book book first his in and Theory/Criticism” to article“Approaches The website went on to remark on Portuguese striker The website went on to remark on Portuguese striker Commenting on the Spain versus Italy match in the 2008 Italy match in the on the Spain versus Commenting 7 , in their terms, has devolved into in their terms, , Patrick Barclay, Chief Football Commentator for the London Chief Football Commentator Patrick Barclay, 9 acting.

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The scare quotes around “abilities” at once cast aspersion on the very notion at once cast aspersion on the very notion “abilities” The scare quotes around 10 (1968), Schechner had included sportsincluded had Schechner (1968), spectruma among performanceof practices. , Times the for York New Stake” at Is Integrity Soccer’s articlehis in Diving: “On Torres, R. Cesar (2012:23). The corporeal flourishes of feigned injury in the repertoire of diving the repertoire of diving corporeal flourishes of feigned injury in The (2012:23). this 1988 article1988 this articulationearly an as cited often most is performanceof discipline the of it studies,

and visibly bad

and film critics. tators and bloggers as discerning theatre —

wise defines the game. ne of the hazards of relying on websites for performance studies research is their tendency to relocate or dis- or relocate to tendency their is performance for websites on research studies relying of hazards the of ne

The video stills of players suspended in the archer’s bow, showing staggering feats of showing staggering feats of suspended in the archer’s bow, The video stills of players O in ‘Thespians’ Infamous Most the of Some worth,“Remember titled website the it’s what For altogether. appear (2012). Sports.terra.com at resided formerly unknown, author Soccer,” Though Kinesiologist spaces identifying handling, ball of forms game—different the of skill” “constitutive a neither is diving that argues Rather, track. on back game the put to how knowing of lines the along skill” “restorative a it is etc.—nor score, to “has therefore It skills. test or play resume to needed not is that one skill,” “extra-lusory an calls he is what diving them- distinguish to are players which by skills of set the “downgrades and contends, he game, the in place” no 2009). (Torres pitch” the on qualitatively selves S his TDR in 1966, as early as that noted be should Public Domain Domain Public Webpages cataloguing the most infamous dives in the history of the game feature lurid in the history of the game feature lurid cataloguing the most infamous dives Webpages Judging from their charges that simulation is responsible for a theatricalization of soccer, a theatricalization of soccer, that simulation is responsible for Judging from their charges

8 9. 7. 8. athleticism, seem to cite the grammar of contemporary dance, calling to mind the virtuosic calling to mind the virtuosic to cite the grammar of contemporary dance, seem athleticism, whose Oedipus/Bêt noir by Vez, as the Belgian troupe Ultima physicality of such companies dancers features Vandekeybus, Wim the direction and choreography of under Jan Decorte, But to soccer critics and of the archer’s bow. springing into the air in forms reminiscent in soccer simulation or diving signals an unwelcome advancement of aesthetics commentators, that compromises the celebration of skill that and introduces a scourge of theatricality other called “Remember Some of the Most Infamous ‘Thespians’ in Soccer” featured images of Real images of Real featured ‘Thespians’ in Soccer” “Remember Some of the Most Infamous called Laveran Lima Ferreira) and defensive midfielder for (Képler “Pepe” Madrid central defender “Pepe and Sergio Busquets in the throes of theatrical dives with the caption: FC Barcelona, ‘abilities’” (Sports. a new theater company for their Sergio Busquets have become the face of terra.com 2012). , in an invective against the pervasiveness of feigned fouls among pro footballers, in an invective against the pervasiveness of feigned fouls among pro footballers, , Times Sunday an insult to human dignity because it relies on “their acting is almost as great writes, faker” (2009).opponents or the referee taking pity on a of a feigned injury with captions that revel in video stills of grimacing players in the throes positions soccer in a curious turn, a practice that, theatrical vocabulary to capture the scene, commen certainly offer added evidence in support of Larlham’s claim that football is “a genre of “a genre of that football is evidence in support of Larlham’s claim certainly offer added “broad spectrum” within the and further instantiate the place of sports (2012:23) performance” inception (Schechner 1988:4– constituted performance studies since its of practices that have 6). European Cup, Kirschbaum continues, “it’s a beautiful game but it was bad theatre and worse but it was bad theatre a beautiful game “it’s Kirschbaum continues, Cup, European Self- me off” (2008). the acting was putting after a while because I stopped watching soccer [...] [...] “How did diving to the question, in response Asam Shah, “Digital Nomad” proclaimed so that soccer contains “I’m [...] annoyed writes, pro soccer?” an integral part of become such 2012). (Shah theatre” much ridiculous agree with Daniel and commentators would likely begrudgingly these sports journalists is Larlham that football formance” 10. (2014). Artthe to Football” of Tribute Dance “A in analysis Evans’s Dan ee one, that “breaks out on stage.” that one, of acting skills while satirizing these players’ lack of ability on the grounds of unintentionally lack of ability on the grounds of unintentionally of acting skills while satirizing these players’ visible Cristiano Ronaldo’s star turns as a diver: “Another player with an uncanny ability to invent player with an uncanny ability to invent “Another Cristiano Ronaldo’s star turns as a diver: In his survey of ‘Oscar.’” considered by many the winner of the fouls is [...] Cristiano Ronaldo, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29September 2021

16 Natalie Alvarez (Photo by Danny Willems) Vandekeybus, at Julidans, festival for the contemporaryinternational dance in Amsterdam, July 2011. Figure 3. Ultima Vez’s King; Monzón drew a red card and was the first player to be removed from a World Cup final. (Photo by Mike Argentina. After contact on his shin, Klinsmann flew over Pedro Monzón and writhed on the ground. Figure 4. German striker Jurgen Klinsmann in a balletic dive during the 1990 World Cup final against © Telegraph Media Group Ltd.) Oedipus/Bêt noir by Jan under the directionDecorte, and choreography of Wim Soccer’s “Infamous Thespians” 17 perhaps, when the field and its perhaps, Figure 5. Video still of Italian footballer Alberto Alberto footballer Italian of still Video 5. Figure reach. of out gets ball the as just down going Gilardino Alvarez) courtesy (Photo Natalie of too much Brecht,

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the

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they “indicate.”

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and indeed consensus about

on the effects of the tackle from the store of exaggerated bodily behav- show and comment on the effects of the tackle from the store

Even while stopping short of employing theatrical vocabulary, Morris and Lewis’s assess- theatrical vocabulary, Even while stopping short of employing When taken together, these satirical When taken together, —

ment of why players are “such poor deceivers” contains an implicit acting lesson for beginners “such poor deceivers” ment of why players are deception as explain poor “We of the actor’s challenge: and gets to the crux “indicating” about to ensure that an observer can clearly see that a tackle a result of the need of the tackled player tackled player is If the player has a difficult challenge. The tackled has had a substantial effect. but he also needs to win a free kick he needs to demonstrate that the tackle has had an effect, Morris The failure, (2010:10). to conceal the fact that the effect is of his own manufacture” the effect of “the need [...] to ensure that an observer can clearly see” lies in and Lewis suggest, breaks one of the principle tenets of realist act- Playing to the observer or onlooker the tackle. as Michael Kirby relays in his influ- American method, particularly in the schools of the ing, “Inexperienced actors [...] often ential essay that charts the continuum of acting to non-acting: emotion the spectator should have toward the ‘telling’ or indicating the single ‘play an attitude,’ [...] has negative connotations in the technical ‘indicate’ scene or the character [...] (The word of the “gest” As in the egregious ([1972] 1995:45). [...])” American method acting vocabulary of the feigned player peeking to see if the referee is watching while in the throes of the tumble, acknowledging the gaze of the onlooker in an the pain, “indicates” foul fails when the player unseemly display of theatricality. aesthetic criteria of realism that delimits here, Bad acting, acting. “bad” from “good” such is acting that is revealed by accident, a kind of as when an actor forgets his lines, as of the actor’s work of acting, “visibility” “more that tends to be David Graver writes, their inten- The simulators fail at feigning because (1997:222). embarrassing than revelatory” attract- namely, visible because their true objective, is made “acting” tions are made clear; their In their efforts to draw the gaze of the referee, is perceptible. ing the attention of the referee, they iors and the colorful spectrum of grimaces principals of simulators fail at one of the foundational In short, spectators demand Stanislavsky. realist acting commentaries betray an antitheatrical atti- commentaries betray that many tude targeted at the theatricality is, What aver has contaminated the game. most compelling about this stri- perhaps, dent antitheatricalism is its tacit reliance on “Ten of the Worst Soccer Dives Ever,” Andre Rotjer features a dive by Asamoah Gyan, a striker Gyan, Asamoah a dive by features Rotjer Andre Ever,” Soccer Dives Worst of the “Ten Gyan decided to take Asamoah ditch effort “Perhaps in a last and quips: SIPG, for Shanghai off so was simply sent any acting classes and he never took Sucks for him, box. a dive in the Alberto Gilardino’s out Italian footballer Rotjer also singles (Rotjer 2010). card” with a red after contact when four or five paces himself to the ground in which he threw infamous dive strikes again! the phantom defender yes, “Ah, out of reach: the ball was well he discovered performance in Phantom star Gilardino graces us yet again with this Broadway Well-known also highlights the Flop” Acting on Soccer “Poor A webpage titled (2010). The Foul” Of player will never win an “This Soccer unconvincing performance: Gilardino dive for its n.d.). (Ayoub actor” academy award for best worst dives in history, In his review of the 10 to this practice of Adam Crafton refers “football’s as deception on the field (Crafton 2014). theatrical dark arts” Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29September 2021

18 Natalie Alvarez 12. rama,” for Fried, is a “positive term” and “preclud[es] all suggestion that the beholder had been taken into 11. tion, whilepointingtothephenomenonofgesturaltransfer, simultaneouslyputspressureon capable globalcirculation[...]gesturesmigrate” (2008:x). But thisframeworkofgesturalmigra- fouls providesaninterestingarenaforCarrieNoland’s examinationofhow, in “a worldofines - increasingly transnationalgameofinternationalprofessional soccer, therepertoireoffeigned ticular, canbeseenascurious instantiationsofthe “migration ofgesture” onthepitch. Inthe striking. of the “archer’s bow,” particularlyinlightofitspeculiaritytosoccerdeception “foul” quitereadily. The behavioralspecificity andcontinuityofformacrossplayersinthecase with thestock “tells” thatcomprisetherepertoireand, inturn, beabletodiscern “fake” from patent theatricalityofthesesimulations, onewouldthinkthatrefereesbecomefamiliar Given thecodifiedrepertoireofbehavioraldeceptioncataloguedbyMorrisandLewis, andthe The “Migration ofGesture” andtheReferee’s Challenge Discerning Fake from Foul and Lewis’ and live-actionreplay. and maneuversofeliteathleteshappeninginthe “real” and “not-real,” theatrical tible elementoffictionthatmakesvisible, evenmeasurable, theperformativerealityofskills offense tothesensibilitiesoffootballfanspreciselybecauseitstheatricalityintroducesapercep- these categories, makingbothanswerabletoitsterms. The simulationbecomesaflagrant between realityand (56),‘fiction’” onthesoccerpitch, thetheatricalityofsimulationunmoors wise absorbthespectator(2011:56). ButwhereasFéralarguesthattheatricality “creates arift tic andaestheticdimensionsofthescene” and “the performativityofaction” thatmightother Féral hasarguedinanothercontext, “creates theframeworknecessarytorecognizeartis- introducing atheatricalitythatcontaminatesthedramaofgame. and overlyinterestedinthegazeofreferee, thesimulatormakesperformanceapparent, theatricality bymeansofabsorption” (48). Bybeinginsufficiently “absorbed” inthefeignedfoul ines theevolutionofpaintinginFrancebetweenGreuzeandManetasanattemptto “defeat and “quickly emergedastheworstofallartisticfaults.” Inhisevaluativeschema, Friedexam- ment.” Theatricality, ontheotherhand, istheantithesisofabsorption. It “plays toanaudience” halt infrontofthepainting[...]holdingthemthereavirtualtranceimaginativeinvolve- ing theirexistence(48). Onlythroughabsorptioncouldthepaintingbringonlooker “to a ing. Itwasaneffectthatannihilatedthepresenceofonlooker, ignoringor, indeed, deny- “absorbed” intheiractions beheld” (1998:47–48). The Frenchpainterswouldachievethisbydepictingfiguresutterly crucially tonegateorneutralize[...]theprimordialconventionthatpaintingsaremadebe ing that, “for DiderotandtheFrenchanti-theatricaltraditiongenerally, thepainter’staskwas (1998:163). ForFried, “absorption” capturesatenetof18thand19thcenturyFrenchpaint- the survivalof[soccer]hascomeincreasinglytodependon[its]abilitydefeattheatre” passionate post, amongothers, abouttheinfiltrationoftheatreinsoccer: “thesuccess, even tute “the arts” for “soccer” inthefollowingassertionbyFried, wehearechoesofKirschbaum’s cality thatartcriticandhistorianMichaelFriedemploysinhisessaysonpainting. Ifwesubsti- appeared oblivioustoanyoneoranythingelse,

The successofthefeignedfoulturnsonfamiliardynamicabsorptionversustheatri- time, syncopated against the grain of manufactured instantaneity and immediacy” (2011:93). rical time,” Schneider writes, “Here, in distinction to ‘real time,’ live theatre and recorded media are both unreal Stein’sGertrude Ann Doane’s notion of syncopated time and Mary writings on photographic imagery. Of “theat- I account”; “the least hint of theatre,” Fried contends, turns “drama into melodrama” (1998:48). “D am alluding here to Rebecca Schneider’s invocation of “theatrical time” and “real time” in the context of These continuitiesintherepertoireofbehavioraldeception, thearcher’s bowinpar s assertionthatitdoesn’t “naturally” arisefromthetackler-tackled interaction 12

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“in whattheyweredoing, includingtheonlookerbeholdingpaint- thinking, andfeeling” 11 Theatricality, asJosette

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such thatthey and Morris

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are - - Soccer’s “Infamous Thespians” 19 -

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from

an instance

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“undoing” those “undoing” while

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As Noland states in her introduction As Noland states in But Morris and Lewis’s schema seems to exist in and Lewis’s schema But Morris 13 beyond the speed of play and distance on the pitch beyond the speed of

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can dismantle a semiotic system of simulated behavior to can dismantle a semiotic system of simulated 14 “restored” or “twice-behaved behavior” (1985) “twice-behaved behavior” or “restored” , from temporality to temporality [...] from one cultural location to to temporality [...] from one cultural location from temporality , the differences among the bodies executing them. (2008:xvi) executing among the bodies the differences unfixes the gesture from its inscription in a trace structure and releases it into its inscription in a trace structure and unfixes the gesture from

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, which examines how “crowd noise may be a decision-making heuristic” for the the for heuristic” decision-making a be may noise “crowd how examines which Sciences, Sports of Journal

ee Paul Downward and Marc Jones’s essay “Effects of Crowd Size On Referee Decisions: Analysis of the FA FA the of Analysis Decisions: Referee On Size Crowd of “Effects essay Jones’s Marc and Downward Paul ee calls of referees (2007:1541). (2007:1541). referees of calls S in Cup” Aside football professional in criteria set of a introducing whether wonder but help cannot I ways. other in study the simulator’s a Would repertoire. the of evolution the impact simply not would simulation of assessment the for an contrast, by signaling, repertoire, the within a of effect the rupture produce criteria of set the from departure trans- the in forms gestural of “undoing” the about follows that analysis the contradicts this But foul? “authentic” Lewis.and Morris by proposed schema undermines the already which body, to body from fer Morris and Lewis codify deceptive behavior patterns in the hopes that their study will help in the hopes that their behavior patterns Lewis codify deceptive Morris and Curiously, the answer to the referee’s arrested powers of discernment in the face of gesture’s the answer to the referee’s arrested Curiously, Gestures, and their undoing from body to body, suggest that there is a “moment of negativ- suggest that there is a and their undoing from body to body, Gestures, another among (gestural) of expressiveness based not on the difference potentially new networks signs but on every instantiated gesture is, in a sense, its own undoing in that its displacement its own undoing in in a sense, is, every instantiated gesture body to body

a naïve relation to the idiosyncracies of bodily form that are always already at play in the rep- idiosyncracies of bodily form that are always a naïve relation to the of the reasons which is one ertoire, 13. instrumentalthe question I of aims follows, that schema Lewis’s and Morris of interrogation the from 14. establish “an objective set of criteria for deception” that referees and players could turn to in the players could turn that referees and criteria for deception” “an objective set of establish effects whether or not the to demonstrate is needed “evidence” when disputed foul, event of a (2010:12). been exaggerated of a foul have Morris and Lewis’s categorization of behavioral deception and the idea of continuity of form idea of continuity deception and the of behavioral categorization Lewis’s Morris and in space. across bodies which Morris and Lewis’s study tacitly appeals. which Morris and Lewis’s study tacitly appeals. migration vitality effects and moments of negativity may lie in his own participation in gestural While their study remains somewhat of gesture’s undoing. the very source paradoxically, that is, at the Institute of Psychology at German Alexandra Pizzeria and Markus Raab, inconclusive, Gestures, as embodied phenomena, are “vulnerable to dehiscence (less fixed by convention to “vulnerable to dehiscence (less fixed by are as embodied phenomena, Gestures, in a curious position of drawing on a recognizable reper Simulators are (xvi). their signifieds)” to the referee “sign” to convey a readable in order “what injury looks like” toire of of what Schechner calls in the singular encounter with “doing” own body’s signs through the idiosyncracies of their the tackler. the ways in which catalogues of bodily behav- underscoring in how gestures communicate, ity” Lewis do not equip referees in the frenetic moment of iors of the kind produced by Morris and “moment of neg- Noland describes this foul. “authentic” play to discern a feigned foul from an redun- training, ‘maintained’ gestural routine (produced through “gap between the as a ativity” as a ‘modulated’ gestural routine (emerging and the acquisition of impersonal skills) dancy, “moment of neg- This (2008:xiii). of the performer)” result of the more particularized energies interpretation. that arrests “nonidentity” of unmeaning and “unpredictable force” is an ativity” the ways in which gestures and bodily forms cannot Such moments of negativity remind us of “energetic an since they produce codified meaning,” “predetermined, be reduced merely to a In the (xiv). “overflows the meaning transmitted” ‘vitality effect’” that exceeds and charge or unbri- of elite players coupled with the oftentimes “vitality effect” the heat of competitive sport, dled affect of fans in the stadium, , with reference to the work of Lesley Stern on with reference to , of Gesture Migrations to the essay collection gestural ghosting, referees have such difficulty in discerning fake from foul. referees have such difficulty Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29September 2021

20 Natalie Alvarez ably improvesthereferee’spowersof “deception detection.” new sensationstofeel” (2008:x), which, inthiscase, amountstoabodilyrecognitionthatargu- retrieving ofgesture, asNolanddescribesit, subjects “produce newinnervationsanddiscover (2012:269). Their studyissuggestiveforthewaysinwhichitevinceshow, intheborrowingand sider incorporatingthedevelopmentofmotorexperienceintheirrefereeeducationprograms and Raabhaveutilitarianaimsfortheirstudy:theysuggestthatsportsassociationsmaycon- “enhanced deceptiondetection” incasesoffootballsimulation. LikeMorrisandLewis, Pizzeria previous experienceasfootballers, thatthe “motor experience” developedintheserehearsals set scenesofcommontackler-tackled interactions. They found, particularlyamongthosewith “rehearsing” therepertoireofdeceptivebehaviorscataloguedbyMorrisandLewis, bystaging “motor experience” mayhelpinthedetectionoffeignedfouls. Their studyinvolvedparticipants Sport UniversityCologne, suggestthatembodiedknowledgeintheformofwhattheycall ee Dan Brown’s discussion of this perception in “Do Foreign Footballers Really Dive16. More?” (2012). 15. often linkthepracticeofsimulationto “foreign footballers.” tude, butalsowithaxenophobicdiscourse. ParticularlyintheUK, playersandcommentators toire ofdeceptivebehaviorbecauseithasbecomeassociatednotonlywithanantitheatricalatti- There maybeareluctanceamongreferees-in-trainingtoparticipateinlearningthereper The Cultural Politics ofFeigning Foul Who Dives? “We” Don’t Adebayor” (FootballItalia2013). were “found guiltyofraciallyabusingthe Tottenham Hotspur’s KyleNaughtonandEmmanuel the fineof€45,000UEFA presentedtofootballclubInterMilanon26 April2013, afteritsfans dences ofracistchantsinfootballcrowdsthatregularlymakeheadlines, arecentexamplebeing racist abuse” atfootballmatches(GiulianottiandRobertson2012:231). There arerisinginci- arguably exacerbatedbytheincreasinglytransnationalnatureofgame, isthe “widespread alism andideasofnationinprofessionalfootball. A by-productofthisintensifiednationalism, forces ofglobalizationandtheformationEuropeanUnionthathavefomentednation- World: An Unlikely ofGlobalization(2010),Theory FranklinFoercontendsthatitispreciselythe ence andnotionsof “the foreigner” stillcirculate. InhispopularbookHowSoccerExplainsthe residual nationalallegiancesina (2012:224),‘borderless world’” questionsofculturaldiffer ric, circulateas “free agents” intheinternationalprofessionalfootballcircuit, shedding “their and RolandRobertsoncall “the globalfootballfield” inwhichfootballers, inneoliberalrheto- less websitesthattakereadersthroughsimulation’shistorichighlights. Inthe “Funniest Soccer phobic discourselinkingthe “contagion” ofsimulationtothe “foreign” isevidentinthecount- influx offoreignplayerswastobeblamedforariseinsimulation (2015:242–58). Thexeno- 40 eliterefereesfromEngland, Spain, andItaly confirmedanabidingperceptionthat For his2015study, Tom Webb attheUniversityofPortsmouthconductedinterviews withover curred: “there areplentyofplayersdiving[...]particularlyforeign players” (inBrown2011). players comingfromSouth America, ItalyandSpain” (inBrown 2011). Sir Alex Fergusoncon- that divinginthePremierLeagueis “worse than10yearsago withtheinfluenceofforeign ject ofheadlinesandnationaldebatewhenStokeCitystriker Michael OwenstatedtotheBBC the stuffofregularSaturdayafternoonchatteratanEnglishpub. Buttheideabecamesub- cultural difference. The beliefthat “foreign footballers divemore” is, accordingtoDanBrown, the pitch(2010:13);divinghasfueledtribalisttendenciesinsport, whichtrafficinideasof

Boas were Jaffa “very, 2013). easy to hear” very ( Sheffield, South Yorkshire, faced “monkey chants” from Inter fans that, according to Hotspur’s boss Andre Villa- The S Diving hasbecomeacipherforthewaysinwhichglobalization, asFoersays, isevidenton Tottenham Hotspur’s Emmanual Adebayor, a Togolese and Kyle forward, Naughton, a fullback born in 16

15 DespitewhatRichardGiulianotti - - Soccer’s “Infamous Thespians” 21 - Platonic whatever that may

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“foreign” players. “foreign” truth and deceit, being and seeming, reminding us that being and seeming, truth and deceit, and the exercises in patriotism and national identity formation they and national identity formation and the exercises in patriotism

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lie in Egyptian terms related to “cosmetics,” the arts of embellishment and “cosmetics,” lie in Egyptian terms related to The question that remains is whether the increasingly globalized and “borderless” “borderless” and is whether the increasingly globalized The question that remains animate scurrilous accusations against animate scurrilous accusations

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The rise of websites archiving the repertoires of soccer’s “infamous thespians” across these thespians” “infamous archiving the repertoires of soccer’s The rise of websites it is worth considering of the new Europe, In the context of the xenophobic substructure The xenophobic rhetoric and its antitheatrical discourse on diving pivots on a neo- while this Platonic logic may have set the groundwork for Western metaphysics by safely Western while this Platonic logic may have set the groundwork for the terms of this logic have never been merely ensconcing being in its transcendent status, They philosophical universalisms unmarked by the cultural politics in which they circulate. Reames in her According to Robin informed by cultural anxieties. from the start, have been, “decisive moment in the Platonic cor widely regarded as a analysis of the Gorgias dialogue, dichotomy of reality and appearance, and being and the advancement of a metaphysics of that marks the rupture of seeming pus” such as rheto- to refer to those practices, \, \tike kommo Plato uses a neologism, transcendence, The etymological that traffic in mere appearances and un-truths (2016:74). ric and sophistry, \ \tike roots of kommo The Athenian polis (87). the austerity of the which threatened to undermine self-adornment, professional tournaments, which coincide with increasing incidences of racial violence among which coincide with increasing incidences professional tournaments, of a broader xenopho- can be seen as symptomatic players, “foreign” fans against so-called Europe’s tendencies Surkis argue, As Éric Fassin and Judith Union. bic turn in the European At that time, Treaty. 1992 signing of the Maastricht toward nationalism have shifted since the of Europe” “supranational definition the project of a nationalist opposition was leveled against and particularly in the wake of the rejection by France however, In the 2000s, (2010:497). “EU the referendum, by a 2005 Treaty and the Netherlands of the European Constitutional must be protected but rather as that which pro- appears no longer as that against which nations and political threats allegedly inherent in immigration” social, tects nations against the cultural, has become one of where a transnational network of players circulate, The soccer pitch, (497). of national identity formation plays out; the anti- the many stages where the European project players offers a vivid “foreign” of simulation by theatrical discourse that surrounds the scourge (497). identities” “new Europe of national to the vocabulary for the threat immigration presents up a force of which open that underlie gestural travel, “moments of negativity” whether the the immigrant body becomes in practice, help to identify how, ‘nonidentity,’” “unmeaning and Fassin, (2010). “political rhetoric of stigmatization” a vessel to be filled by what Fassin calls the signifier, turns to Claude Lévi-Strauss’s notion of the floating in his writings about the Roma, and whose signifieds are not singular but multi- whose meaning shifts according to the context and In a dynamic that parallels Noland’s interest in the unmeanings “depending on needs.” ple, “mere as the floating signifier, of negativity, nonidentities opened up by a gesture’s moments Fassin 2010). (Lévi-Strauss in any symbolic content” “potentially be invested with can form” players present even further instances “foreign” dives of and overly theatrical “bad acting” The and “threatening as a floating signifier is deemed of the ways in which the immigrant body (Fassin and Surkis 2010:497). unassimilable” inspire teams in the professional leagues incite these commentaries that make the proclivity to dive leagues incite these commentaries that teams in the professional World tournaments such as the character; or whether the national team reducible to national Cup and European Cup mean (2012). Dives and Fake Injuries Ever,” for example, the image of a feigned foul by Alberto Giraldino is Giraldino Alberto by feigned foul image of a the example, for Fake Injuries Ever,” Dives and be considered a disgrace, [diving] would in some other country “Maybe the caption, framed by The now 2010). (Soccernews.com culture” a part of their football this is basically but in Italy, div- also ties Soccer” ‘Thespians’ in of the Most Infamous “Remember Some defunct website - “the mis who has Aristizabal, Victor striker out Colombian singling tendencies, ing to cultural has become more a country where diving ‘thespian’ in greatest being known as the fortune of “seems to have who Hernandez, “Chicharito” and Mexican striker Javier and more frequent,” the field” ‘historical qualities’ of the Mexicans on taken on some of the Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00521 by guest on 29September 2021

22 Natalie Alvarez Foer, Franklin. 2010. HowSoccerExplainsthe World: An Unlikely ofGlobalization.Theory New York: Harper FIFA. 2015. LawsoftheGame Féral, Josette. 2011. “From EventtoExtremeReality.” Translated byLeslie Wickes. TDR55, 4 Fassin, Éric, andJudithSurkis. 2010. “Introduction: Transgressing Boundaries.” PublicCulture22, 3 Fassin, Éric. 2010. “Why theRoma?” Theory, Culture, (blog), andSociety Evans, Dan. 2014. “A Dance Tribute tothe Art ofFootball.”Review CanadianTheatre Elliott, Debbie. 2006. “Fake orFoul? A SoccerRefHoldsForth.” npr.com, 8July. Accessed 3March2015. Downward, Paul, andMarcJones. 2007. “Effects ofCrowdSizeOnRefereeDecisions: Analysis oftheFA Dailymotion. 2013. “2009 (August26) Arsenal (England)3-CelticGlasgow(Scotland)1(Champions Crafton, Adam. 2014. “10 ofout10:Oscar’sacrobaticsbrought football’stheatricaldarkartsbacktocentre Connor, Sam. 2013. “Panel onSportandPhotography.” Historyand Theory ofPhotographyResearch Brown, Dan. 2012. “Do ForeignFootballersReallyDiveMore?” Deadspin, 13November. Accessed 3March FIFA imaginesinitsofficialslogan ing linesbetweenthosewhodo(“them”)anddon’t(“us”), suggestingthattheworld 2012:229). Inthexenophobicimagination, divinghasbecomeameansofdelineatingthedivid- which promulgatethe “world-unifying powersofthe (GiulianottiandRobertson ‘global game’” discourses” conveyedinthecorporatemessagesandpopularmythologiesthatsurroundssoccer, undergirds thesport. Divinganditsantitheatricalistdetractorsbetraytheutopic “universalist ence. The antitheatricalattitudeonlypartiallymaskstheotherwisetransparentxenophobiathat service oftheseprojectsnationalismbyprovidingadiscourseforideasaboutculturaldiffer mance paradigmthatsurroundthe “scourge” ofdivingrevealhowantitheatricalismoperatesin dencies inthecontextof “global footballfield.” Thepervasiveinvocationsoftheperfor who associatefeigningwiththe foreign. bic anxietiesnotunlikethosethatcharacterizethenewEuropetodayandireofsportsfans not only Western metaphysicsbutalsoanantitheatricalprejudice, wereinformedbyxenopho- gests thathisappealstoadistinctionbetweenseemingandbeing, whichlaidthefoundationsof concerning “foreign profligacy” thatthreaten “domesticausterity” (74). Plato’sneologismsug- place andpresidingPlatonicdistinctionbetweenmerely seemingandbeingtowardanxieties implications ofReames’sreadingaresignificant, sincetheymoveusawayfromthecommon- Barclay, Patrick. 2009. “Feigning InjuryCorrupts As Much As FakeBlood.” TheTimes Ayoub, Chuck. n.d. “Poor Acting onSoccerFlop- Video.” Maniac World. Accessed 12March2015. www References together” Diving, asthesedebatesandcommentariesmakeclear, hasbecometheagentoftribalistten- Perennial. /FootballDevelopment/Refereeing/02/36/01/11/LawsofthegamewebEN_Neutral.pdf. (T212):51–63. (Fall):487–505. 2015. http://theoryculturesociety.org/eric-fassin-why-the-roma/. www.npr.org/templates/story/story.php?storyId=5543563&from. Cup.” League).” Accessed 12March2015. www.dailymail.co.uk/sport/football/article-2532625. stage... butthegame’sworsteverdiveswouldmake Tom Daleyproud.” Dailymail.co.uk, 2January. Centre, 29June. Accessed 4March2014. https://photographyresearchcentre.wordpress.com/. 2015. http://deadspin.com/5957921. Accessed 2March2015. www.thetimes.co.uk/tto/sport/columnists/patrickbarclay/article1841126.ece. .maniacworld.com/poor-acting-on-soccer-flop.html. Journal ofSportsSciences25, 14:1541–45.

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