CHAD CHADDINGTON

Each sign in wrestling is therefore endowed with an absolute clarity, since one must always understand everything on the spot. As soon as the adversaries are in the ring, the public is overwhelmed with the obviousness of the roles. As in the theatre, each physical type expresses to excess the part which has been assigned to the contestant. Thauvin, a fifty-year-old with an obese and sagging body, whose type of asexual hideousness always inspires feminine nicknames, displays in his flesh the characters of baseness, for his part is to represent what, in the classical concept of the salaud, the 'bastard' (the key-concept of any wrestlingmatch), appears as organically repugnant. The nausea voluntarily provoked by Thauvin shows therefore a very extended use of signs: not only is ugliness used here in order to signify baseness, but in addition ugliness is wholly gathered into a particularly repulsive quality of matter: the pallid collapse of dead flesh (the public calls Thauvin la barbaque, 'stinking meat'), so that the passionate condemnation of the crowd no longer stems from its judgment, but instead from the very depth of its humours. It will thereafter let itself be frenetically embroiled in an idea of Thauvin which will conform entirely with this physical origin: his actions will perfectly correspond to the essential viscosity of his personage.

This function of grandiloquence is indeed the same as that of ancient theatre, whose principle, language and props (masks and buskins) concurred in the exaggeratedly visible explanation of a Necessity. The gesture of the vanquished wrestler signifying to the world a defeat which, far from disguising, he emphasizes and holds like a pause in music, corresponds to the mask of antiquity meant to signify the tragic mode of the spectacle. In wrestling, as on the stage in antiquity, one is not ashamed of one's suffering, one knows how to cry, one has a liking for tears

Thus the function of the wrestler is not to win; it is to go exactly through the motions which are expected of him. It is said that judo contains a hidden symbolic aspect; even in the midst of efficiency, its gestures are measured, precise but restricted, drawn accurately but by a stroke without volume. Wrestling, on the contrary, offers excessive gestures, exploited to the limit of their meaning. In judo, a man who is down is hardly down at all, he rolls over, he draws back, he eludes defeat, or, if the latter is obvious, he immediately disappears; in wrestling, a man who is down is exaggeratedly so, and completely fills the eyes of the spectators with the intolerable spectacle of his powerlessness. nostr:nevent1qyxhwumn8ghj7mn0wvhxcmmvqqs9cnrr6zu9wn8unl5h5car596tpcevp5pjmml6vdqr760uuye5jgcqhm2va

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