After making history last week main eventing NXT Takeover: Respect and competed in the first Women's Ironman Match and fought for 30 minutes. They set the wrestling world a blaze for the second time and many thought they wouldn't be able to top NXT Brooklyn's classic match, but they did exactly that at Respect. For this post we see a little look into the past of both Bayley and Sasha Banks and the long road they took to get to where they are now:
"When they perform they are not "sports entertainers" fighting to entertain the crowd; they are professional wrestlers fighting to be the best athlete in their division.
That is what separates elite from non-elite, pro-wrestler from "entertainer", truly getting over with the crowd and limply getting over with the crowd.
Today's "superstar" seems encouraged to disregard the fundamental conceit of the pro-wrestling medium (that a pro-wrestling match is a legitimate contest taking place in a legitimate sports division) in favor of "entertaining" the crowd. That perspective breaks the fiction of pro-wrestling and trains an audience to disbelieve what they're seeing (that perspective also transfers power from the performer to the viewer, resulting in complacent audiences who either like or do not like what they see rather than thoughtful audiences willing to watch a narrative evolve over time).They wrote about "female wrestlers". They did not write about "Divas". In fact, they forged arguments against the kind of booking that’s become commonplace over the past fifteen years, and that's where the true importance of these essays is revealed."
For the full article: Click Here
That is what separates elite from non-elite, pro-wrestler from "entertainer", truly getting over with the crowd and limply getting over with the crowd.
Today's "superstar" seems encouraged to disregard the fundamental conceit of the pro-wrestling medium (that a pro-wrestling match is a legitimate contest taking place in a legitimate sports division) in favor of "entertaining" the crowd. That perspective breaks the fiction of pro-wrestling and trains an audience to disbelieve what they're seeing (that perspective also transfers power from the performer to the viewer, resulting in complacent audiences who either like or do not like what they see rather than thoughtful audiences willing to watch a narrative evolve over time).They wrote about "female wrestlers". They did not write about "Divas". In fact, they forged arguments against the kind of booking that’s become commonplace over the past fifteen years, and that's where the true importance of these essays is revealed."
For the full article: Click Here
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