This text analyzes the phenomenon of American professional wrestling in light of the critical dramaturgy of Erving Goffman, Victor Turner and Mary Jo Deegan. It seeks to offer a scholarly explanation and sociological insight into professional wrestling in America.

Professional Wrestling and the Commercial Stage examines professional wrestling as a century-old, theatrical form that spans from its local places of performance to circulate as a popular, global product. Professional wrestling has all the trappings of sport, but is, at its core, a theatrical event. This book acknowledges that professional wrestling shares many theatrical elements such as plot, character, scenic design, props, and spectacle. By assessing professional wrestling as a neglected but prototypical case study in the global business of theatre, Laine argues that it is an exemplary form of globalizing, commercial theatre. He asks what theatre scholars might learn from pro wrestling and how pro wrestling might contribute to conversations beyond the ring, by considering the laboring bodies of the wrestlers, and analyzing wrestling’s form and content. Of interest to scholars and students of theatre and performance, cultural studies, and sports studies, Professional Wrestling and the Commercial Stage delimits the edges of wrestling’s theatrical frame, critiques established understandings of corporate theatre, and offers key wrestling concepts as models for future study in other fields.

According to Leverette, a student of media studies at Rutgers University who teaches courses in media and popular culture, this study of professional wrestling seeks "(1) to explore how popular culture has been evaluated and understood in the modern world by looking at various 'schools' of criticism, (2) to establish the existence of myth and ritual in the modern, technological world, and illustrate its function as sociological propaganda, (3) to explore the narratives of professional wrestling to elucidate how stories continually present a thematic myth of America." Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).

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.

Part sport, part performance art, professional wrestling's appeal crosses national, racial and gender boundaries--in large part by playing to national, racial and gender stereotypes that resonate with audiences. Scholars who study competitive sports tend to dismiss wrestling, with its scripted outcomes, as "fake," yet fail to recognize a key similarity: both present athletic displays for maximized profit through live events, television viewership and merchandise sales. This collection of new essays contributes to the literature on pro wrestling with a broad exploration of identity in the sport. Topics include cultural appropriation in the ring, gender non-comformity, national stereotypes, and wrestling as transmission of cultural values.

Professional wrestling revels in its exaggeration of masculinity. This hyper-masculinity is evident in the physical appearance of wrestlers, the sexuality-charged and violent moves used in and out of the ring, the role assigned to women and the extensive use of weapons such as chains, barbed wire and steel folding chairs. This study explores the link between watching televised wrestling matches and increases in verbal aggression, rebellion and propensity toward violence and retaliation. Wrestling is placed within the larger context of popular culture and other hyper-masculine entertainment. The book begins with a brief history of professional wrestling, a summary of the criticisms of the sport, and a discussion of the author's research methods. One chapter discusses how gender socialization plays a part in the effects of wrestling on its viewers, arguing that wrestling goes beyond the image of physically violent acts to models of interpersonal behavior. The expansion of wrestling into storylines outside the ring includes problem situations involving class, race, homophobia and nationality, to which violence is often presented as a solution. The book concludes with an investigation of the attractiveness of wrestling and its ability to lure fans back year after year.

American rituals are vital to the creation and renewal of cultural meanings and rules for social interaction. These rituals are rooted in tradition yet are rapidly changing: a contradiction of hyper-modern society. This phenomenon was first explored by Professor Deegan in her 1989 study American Ritual Dramas. The theory examines both participatory rituals and mass-media rituals to show how everyday people become attached to and alienated from other rituals. Elaborating on the critical dramaturgy theory, the essays in this collection show how patterns can be changed to create a more emancipatory and celebratory society. The topics covered in the collection include an analysis of Santa Claus, skinheads, hate crimes, and strip dancing, among other topics. Each contributor has participated in these rituals and many examine related cultural artifacts such as music, brochures, and so forth. As the essays show, postmodern theory has gratly underestimated the power and coherence of these events. An important study for scholars and other researchers involved with sociological theory, social psychology, and popular culture.

The Handbook of Cultural Studies in Education brings together interdisciplinary voices to ask critical questions about the meanings of diverse forms of cultural studies and the ways in which it can enrich both education scholarship and practice. Examining multiple forms, mechanisms, and actors of resistance in cultural studies, it seeks to bridge the gap between theory and practice by examining the theme of resistance in multiple fields and contested spaces from a holistic multi-dimensional perspective converging insights from leading scholars, practitioners, and community activists. Particular focus is paid to the practical role and impact of these converging fields in challenging, rupturing, subverting, and changing the dominant socio-economic, political, and cultural forces that work to maintain injustice and inequity in various educational contexts. With contributions from international scholars, this handbook serves as a key transdisciplinary resource for scholars and students interested in how and in what forms Cultural Studies can be applied to education.