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The Relationship Between the Actor and the Audience in Professional Wrestling

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The Relationship Between the Actor and the Audience in Professional Wrestling Revue de recherche en civilisation américaine 4 (2013) Le catch et... ................................................................................................................................................................................................................................................................................................ Claire Warden The democratic stage?: the relationship between the actor and the audience in professional wrestling ................................................................................................................................................................................................................................................................................................ Avertissement Le contenu de ce site relève de la législation française sur la propriété intellectuelle et est la propriété exclusive de l'éditeur. 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Référence électronique Claire Warden, « The democratic stage?: the relationship between the actor and the audience in professional wrestling », Revue de recherche en civilisation américaine [En ligne], 4 | 2013, mis en ligne le 30 décembre 2013, consulté le 27 février 2016. URL : http://rrca.revues.org/525 Éditeur : Diallo, David http://rrca.revues.org http://www.revues.org Document accessible en ligne sur : http://rrca.revues.org/525 Document généré automatiquement le 27 février 2016. © Tous droits réservés The democratic stage?: the relationship between the actor and the audience in professiona (...) 2 Claire Warden The democratic stage?: the relationship between the actor and the audience in professional wrestling Theatrical wrestling: two-way actor-audience communication 1 7 January 2013, World Wrestling Entertainment (WWE)’s flagship Monday night spectacular RAW: the franchise’s most prominent heel CM Punk confronts returning hero The Rock. Popular with ‘smart marks’ (‘smarks’, that is those fans who are enjoyably aware that behind the polished storylines linger backstage rivalries and promotional strategies), Punk, both as face (‘goodie’) and heel (‘baddie’), has always set himself up as ‘voice of the voiceless’, a Chicago-native who, in the tradition of legend ‘Stone Cold’ Steve Austin, rejects the powers of authority in favour of nonconformism. While Stone Cold was a beer-swilling red neck, Punk is an alternative rock-loving, tattooed advocate of a straight edge lifestyle – drug-free, smoke-free, alcohol-free – yet both set themselves up as rebels challenging bigger corporate systems. Punk’s promo berates both the fans for their unquenchable desire for entertainment and, seasoned with truth, the WWE business machine where “you don’t get noticed until you’ve moved a couple of t-shirts.” (WWE 7 January 2013) Aping Punk’s own catchphrase, self-proclaimed ‘People’s Champion’ The Rock responds “here in the WWE universe there’s no such thing as the voiceless.” (ibid) The Rock orchestrates the audience in a chant of “Cookie Puss”, a new addition to his long line of participatory catchphrases, while Punk accuses the crowd of being “the puppets you are.” (ibid) The entire scene is infused with comments about the audience and its position in the professional wrestling arena, thereby enabling us once again to read this popular self-proclaimed ‘sports entertainment’ genre through the parlance of performance studies. For in the theatre the relationship between actor and audience shifts, depending on genre and the spatial arrangement of the arena; it varies between the illusory mimesis of naturalism which compels the audience to sit in silent darkness following a linear story, to the work of contemporary performance artists such as Marina Abramovic whose The Artist is Present encourages visitors to sit opposite her at a table, presenting herself as vulnerable and open to interaction. Wherever a performance falls on this spectrum, the relationship between the actor and the audience in the theatre is always a central concern. 2 In connecting professional wrestling with theatrical performance I am following a well- trodden path. Roland Barthes claims wrestling as a ‘spectacle of excess’ and many critics follow his lead. Influenced by the ideas of Mikhail Bakhtin in his Rabelais and his World, cultural critic John Fiske, for example, reads wrestling as a carnivalesque spectacle, a performance of the grotesque rather than a sport in any traditional sense. (1989, pp. 80-3) In her book, Professional Wrestling: sport and spectacle, Sharon Mazer, too, understands professional wrestling as a morality play, ballet, folk drama, vaudeville and even as an example of Artaud’s Theatre of Cruelty. (1998, p. 16) Whether Mazer’s comprehensive list of genres is fully justifiable remains open to debate but the accusation of artificiality often levelled at professional wrestling is rendered moot as reading it as performance from the off immediately extricates the form from these allegations, freeing it for new interpretations and analyses. 3 Placing my argument in these debates about wrestling and performance, in this article I aim to identify the changing relationship between the wrestling stage and spectators (actors and audience). In this I do not presume homogeneity; wrestling audiences contain a range of different types, all responding to the spectacle in their own ways. There are even remarkable differences between audiences from town to town with some areas (notably New York and the UK) regarded as particularly ‘hot’ (that is vocally and intelligently engaged with the performance) smark crowds. Over the years, the audience for this type of wrestling has Revue de recherche en civilisation américaine, 4 | 2013 The democratic stage?: the relationship between the actor and the audience in professiona (...) 3 changed quite considerably, from the working-class Irish exiles of the carnival to the John Cena (most prominent WWE face) T-shirt wearing, multi-media savvy children of the 21st century. 4 While attempts will always be made to manipulate the emotional response of the audience, it is the viewer/consumer who ultimately decides how they will respond. This chimes with Fiske’s conclusions: Popular culture always is part of power relations; it always bears traces of the constant struggle between domination and subordination, between power and various forms of resistance to it or evasions of it, between military strategy and guerrilla tactics (1989, p. 19). 5 While the autonomy of the spectator is a given on the independent wrestling scene, this ‘constant struggle’ becomes particularly troublesome and fascinating when we turn to the WWE, a promotion that stands apart from other wrestling companies simply because of its financial clout. At first glance, the relationship between the actors and the audience may appear straightforward. Adept at manipulating the crowd, it might seem that the wrestlers (on behalf of owner Vince McMahon and the shadowy board of directors) lead the dumb spectators by the nose, that they are indeed the “puppets” CM Punk presumes they are. Grounding my argument on the issues raised by CM Punk/The Rock’s recent promos, this article will explore the idea of the voiceless crowd, pinpointing moments when even the WWE capitalist juggernaut is unable to quench the voices leading to, what I will claim, are brief moments of radical democracy, potentially presenting professional wrestling as surprisingly one of the most egalitarian contemporary performance spaces. Influencing the story: the audience as co-creator 6 The WWE has many tools at its disposal in order to manipulate (or perhaps ‘shape’ might be a better word) its audience’s viewing experience. The most obvious, given that most spectators consume wrestling predominantly through screens, is the camera. Professional wrestling is fascinating as a moment of live performance constantly conscious of the television audience. This makes for a very different sort of viewing (and performing) experience than going to the London’s Globe Theatre to watch Hamlet. In recent years, performance studies have sought to understand better the relationship between live performance and mediating forms. Traditionally imagined as a reductive binary, liveness and mediation actually are far more connected and reciprocal than might first be imagined. Nowhere is this clearer than in the relationship between the live event and television. In his 2012 book Liveness, Philip Auslander questions conventional wisdom regarding the live event and the mediated event, challenging “the traditional assumption that the live precedes the mediatized.” (2012, p. 14) Wrestling
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