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BratanWrestling » Мимо рестлинга » Литература » Eric Bischoff - Controversy Creates Cash (2006)
Eric Bischoff - Controversy Creates Cash
DarklightДата: Среда, 05.08.2009, 23:32 | Сообщение # 1
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Судя по прологу крутая книга одного из самых хитрожопых персонажей реслинга wink

Язык - Английский
Формат - pdf
Объём - 409 страниц
Вес - 5 мб
Хост - мега
Качнуть

 
Pranker151Дата: Четверг, 06.08.2009, 03:43 | Сообщение # 2
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Спс happy

 
vetalfoxДата: Четверг, 06.08.2009, 19:10 | Сообщение # 3
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Спасибо

 
SokolinaДата: Четверг, 06.08.2009, 19:14 | Сообщение # 4
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Читать интервью Эрика всегда интересно, спасибо за книгу, занимательно, что же написал в ней Бишофф.

 
DarklightДата: Вторник, 11.08.2009, 15:14 | Сообщение # 5
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Интересно читать. Вот несколько выдержек:

Реслинг как искусство
[spoiler]When you watch wrestling, what you see looks fairly simple. It
looks like a staged, choreographed fight between two people who
supposedly have an issue, something that they’re fighting over.
What you don’t see is the psychology that goes into creating that
story. What you really don’t see is the skill and the art that’s re-
quired to engage the third person in that ring.
The third person in the ring is the audience.
The audience has always been the most important ingredient in
a wrestling show, but it’s really critical in a television show. If the
wrestlers are not connecting with the audience, no matter what
they do, the match doesn’t translate to the viewer at home.
Try this experiment. Pick the two best wrestlers you know of—
take Ric Flair and Ricky Steamboat, just as examples. Put them in a
Broadway—a sixty-minute match that ends in a draw—that’s the
best match of their careers. Put that match in front of fifteen thou-
sand people who know Ric Flair and Ricky Steamboat, real fans
who have followed their careers, are caught up in their storyline,
and know their moves.
Close your eyes and imagine what that match is going to look
like. Imagine what that crowd is like.
Now open your eyes.
Now open your eyes.
Take the fans out of the building. Close your eyes and have that
same match in front of empty seats.
What’s the viewer at home going to do ten minutes into the
match?
Change the channel.
The crowd validates what the viewer at home feels. If the crowd
isn’t there, most viewers aren’t going to feel the same way about
what they are seeing. The audience is one of the most important in-
gredients in wrestling, much more so than in most other forms of
entertainment.[/spoiler]

Настоящий "скилл"

[spoiler]Truly accomplished wrestlers read the audience. They learn to “feel”
the audience and work to get the reactions they want. They have a
whole arsenal of tools to utilize to tell their story. Therein lies the art.
An accomplished wrestler is a little like a Broadway actor who
appears in the same play over and over again during a two-year run.
The Broadway actor is going to get the same reaction at a Wednes-
day matinee that he or she gets on a Friday night. He may have to
go about it in a different way, but he’ll get it.
The same is true in wrestling. The really good wrestlers—whether
it’s Ric Flair, Triple H, Hulk Hogan—they know how to get the reac-
tion they want. They can read and manipulate the audience.
People criticize Hulk Hogan because he doesn’t have a lot of
physical tools, but I don’t know anybody who can read an audience
better than Hulk Hogan. He knows when to give that special look
to just the right person at ringside, so that everyone else in the arena
thinks Hogan’s looking right at him. Hulk Hogan can get more of a
reaction with a single look than many more athletic performers can
get during an entire match. Sometimes the changes are subtle—
sometimes they are over the top. But he knows how to get the reac-
tion he wants to get. That’s an art form. That’s a skill. [/spoiler]

Проблема хилов
[spoiler]
A lot of wrestlers who are supposed to be bad guys don’t have
that ability. Sometimes I see it in guys who are really experienced—
they don’t want to be the bad guy. They don’t want to be booed.
But for a story to be successful, there has to be a villain. You have to
have the characteristics that people truly hate. You have to be a liar,
a cheat, a sneak, a coward—and the fans need to believe it.
Most performers are uncomfortable with that.
And sometimes it’s not just ego. In today’s environment, much
of your income is determined by your ability to sell merchandise.
This is a vulnerability in the WWE formula. If the crowd doesn’t
like you—in other words, if you’re an effective villain or heel, to use
the wrestling expression—fans generally don’t buy your T-shirts and
other merchandise. That translates into less money in your pocket.
But if no one really wants to be the villain, no one really gets to
be the good guy. People start to feel ambivalent about the storylines
and characters. They may come to enjoy the action and the commu-
nal experience of being in an arena with 15,000 other people. They
will react the way they know they are supposed to, but will they
really care about the outcome of the match?
In my opinion, probably not. At least not as much as they
should. That’s the difference between what I refer to as “Pavlovian
heat”—an automatic reaction that’s not deeply felt—and real
heat—loathing that comes from the heart.
I have a hard time today pointing to one person who is really a
babyface or a good guy. I can’t even point to one guy that the audi-
ence believes is a villain.
Look at a guy like Triple H, and how people react to him when
he comes out. He goes into that Incredible Hulk–like stance. He
scowls and spits water straight up into the air like he owns the
arena. They dim the lights, and he has a spotlight on him like Elvis
Presley as he makes his way to the ring, growling for the camera.
What guy doesn’t want to be him?
I don’t want to pick on Triple H, but unfortunately his character
is an example of what I’m talking about. He’s one of the best mod-
ern heels out there, but his entrance is a hero’s entrance. If you give
someone a hero’s entrance week in and week out, and he gets a
hero’s response, the audience doesn’t hate that guy. They can’t—
they wish they were him.
Guess what? Once that happens, you’re not a heel. You cannot
achieve heel status with the audience when, consciously or subcon-
sciously, they wish they were you. It’s absolutely impossible.
Its like: Yeah, I’ll play the role of a bad guy, but I want people to
think I’m cool. I want people to buy my merchandise.
You have to establish a heel character the second you walk
through the curtain. You have to want people to hate you. They
should be throwing shit at you. Then when you step in the ring and
the good guy across from you hits you and knocks you on your ass,
the roof blows off. And that good guy, that babyface, is truly a good
guy And they buy his merchandise. The audience is living vicari-
ously through him.
Verne Gagne told me it doesn’t matter if people love you or
hate you, as long as they feel strongly one way or the other. The
worst place you can be is in the middle. [/spoiler]

 
ButcherДата: Вторник, 11.08.2009, 19:27 | Сообщение # 6
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Огромное спасибо!!!
Утащил на WH. wink


 
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