us wrestling syllabus

f/N WRESTLING

SYLLABUS

^

by STAN DZIEDZIC

Technical demonstration by the NATIONAL WRESTLING STAFF

THE UNITED STATES

WRESTLING SYLLABUS

THE UNITED STATES

WRESTLING SYLLABUS

by STAN DZIEDZIC

Technical demonstration by the NATIONAL WRESTLING STAFF

A publication of Leisure Press. P.O. Box 3, West Point, N.Y. 10996 Copyright 1983 by Leisure Press All rights reserved. Printed in the U.S.A.

No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording, or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a written review for inclusion in a magazine, newspaper, or broadcast.

Library of Congress Card Number: 81-85635 ISBN: 0-88011-014-7

Cover, book design, and typesetting by Diana J. Goodin

G> LEISURE PRESS P.O. BOX 3 WEST POINT, N.Y. 10996

TABLE OF CONTENTS

Contributing Technicians 6 Acknowledgement 9 Introduction 10 Preface 11 Foreword 13 1 Mastering Wrestling Technique 14 2 Strategy 17 3 Tactics by Ed Yarovinsky 19 4 Stance 25 5 Motion 29 6 Breaking Opponent's Balance 31 7 The Tie-Up and Breaking of the Tie-Up 33 8 Breakdowns from Behind 61 9 Low Single Leg 103

10 Creating Favorable Conditions for the Single Leg 133 11 Finishes to the Single Leg Takedown 143 12 Single Leg in its Entirety: Creating Favorable Conditions, Attacking and Finishing 195

C O N T R I B U T I N G T E C H N I C I A N S MEMBERS OF THE AAU NATIONAL WRESTLING COACHING STAFF

DON BEHM: GENE DAVIS: AUTHOR, STAN DZIEDZIC:

NAAU Champion1973, 1974 (Most Outstanding Wrestler1973)

Tbilisi Champion1970 Pan American Champion1971 World Silver Medalist1969, 1971 Olympic Silver Medalist1968 USA/AAU Elite Freestyle Coach1982

NCAA Champion1966 NAAU Champion1971, 1974, 1975 Olympic Bronze Medalist1972 USA/AAU Junior World Coach1973 USA/AAU Pan American Coach1979 USA/AAU Senior World Coach1981 Head Wrestling CoachAthletes in Action

NCAA Champion1971 NAAU Champion1974, 1976, 1977 World Cup Champion1975, 1977 Olympic Bronze Medalist1976 World Champion1977 Amateur Wrestling News

"Man of the Year"1980 Vice-President of FILA Coaches

Commission National Wrestling Coach

THE UNITED STATES WRESTLING SYLLABUS 7

DAN GABLE: RUSS HELUCKSON: JIM HUMPHREY:

NCAA Champion1969, 1970 NAAU Champion1969, 1970 Pan American Champion, 1971 World Champion1971 Olympic Champion1972 Amateur Wrestling News

"Man of the Year"1970 USA/AAU World Cup Coach1977, 1978,

1979, 1980, 1981, 1982 USA/AAU Senior World Coach 1977,

1978, 1979 USA/AAU Olympic Coach 1980 Head Wrestling CoachUniv. of Iowa

NAAU Champion1973, 1975, 1976, 1979, 1980

Tblisi Champion1974 Pan American Champion1971, 1975, 1979 World Cup Champion1978 World Silver Medalist1979,

Bronze Medalist1971 Olympic Silver Medalist1976 Amateur Wrestling News

"Man of the Year"1981 USA/AAU Junior World Freestyle

Coach1981 Head Wrestling CoachUniv. of Wise.

NAAU Champion1977, 1978, 1979 (Most outstanding Wrestler1977, 1980)

Pan American Bronze Medalist1975 World Silver Medalist1977 USA/AAU Elite Freestyle Coach1980 USA/AAU Junior World Coach1981 National Wrestling CoachCanada

8 CONTRIBUTING TECHNICIANS

BEN PETERSON: Foreign Guest Contributing Technicians ION BACIU: ED YAROVINSKY:

Holds Master of Sport degree from Russia Russian National Champion Currently U.S. Citizen

NCAA Champion 1971, 1972 NAAU Champion 1973, 1976, 1977, Pan American Champion1975 World Cup Champion 1980 World Bronze Medalist1973 Olympic Champion 1972,

Silver Medalist1976 Head Wrestling CoachMaranatha

Baptist Bible College

1978 National Champion of Romania European Medalist1966, 1970, 1971, Olympic Silver Medalist 1968 World Champion 1967

1972

I am grateful to Ion Baciu, Don Behm, Gene Davis, Dan Gable, Russ Hellickson, Jim Humphrey, and Ben Peterson for their demonstration of the tech-niques in the Syllabus. Their excellent technical skills were invaluable. I would also like to express my gratitude to Ed Yarovinsky for contributing the section entitled Tactics.

My greatest debt in preparing the manuscript goes to Ted Reese. His command of the English language coupled with his comprehension of the wrestling holds made him an excellent candidate for editorial comment; a position he filled most com-petently.

The text of the book was typed accurately and effi-ciently by Nancy Bottolfsen and Mary Bowder. I am also grateful to Don Krone for his readily available editorial comments and to Joe Scalzo for his en-couragement and valuable suggestions.

Further, I would like to thank those men in the AAU Wrestling Division who were the initiators of the National Syllabus concept, and to Sun Co. who in part made this project possible by supporting the National Wrestling Coaching Program.

ACKNOWLEDGEMENT

Finally, thanks go to my wife Arlene and three children Jodi, Katie, and Tommy for tolerating with the Syllabus that filled countless hours of our time together. As always, my wife's unfailing encourage-ment made the completion of the book possible.

INTRODUCTION

T he calibre of the participants in the sport of wrestling is constantly improving. This improve-ment is in part the result of better training methods and revised wrestling techniques and tactics. In the past thirteen years ten United States wrestlers, Rick Sanders, Fred Fozzard, Dan Gable, Wayne Wells, Ben Peterson, Lloyd Keaser, John Peterson, Stan Dziedzic, Lee Kemp and Chris Campbell have won gold medals in either the Olympic or World Cham-pionships. These wrestlers and others have made noteworthy additions to the technique and tactics of wrestling in the United States. Each of these wrestlers, at one time, was both a composer and a performer of his own compositions. For this reason each had his own personal repertoire unlike the others. After all, can one compare the wrestlers Rick Sanders and Dan Gable? A separate style and arsenal of technical skills are what characterize each of them.

What does this mean to other wrestlers in the ac-quisition of wrestling skills? It means that each wrestler should develop the style andtechnical skills most favorable to his individual qualities.

The purpose of The U.S. Wrestling Syllabus is to capture and disseminate the best techniques as they exist today. A great deal of time and effort has gone into producing The U.S. Wrestling Syllabus. It started several years ago with the committee that determined the outline, content, and format of the syllabus. After our most successful wrestlers were photographed executing the most effective techni-ques selected for the syllabus, the text was finally organized and produced.

T he ideal wrestler would have a variety of physi-cal and mental qualities. He would be as strong as Paul Anderson (Olympic weight lifting champion), have as much endurance as Frank Shorter (Olympic marathon champion), be as dexterous as Kurt Thomas (World gymnastic champion), have the flex-ibility of Olga Korbut (Olympic gymnast champion), have the daring and decisiveness of Sugar Ray Leonard (Olympic boxing champion), and have the tactical forethought of a Bobby Fischer (World chess champion). Naturally, all these character-istics would be embodied in specific wrestling techniques. Unfortunately, the wrestler hasn't been and probably never will be born with the combina-tion of all these qualities.

There are numerous examples, however, where a wrestler with the excellent development of any one of these qualities, such as strength or endurance coupled with the proper tactics and techniques, has become World or Olympic champion. A wrestler can compensate for the lack of certain physical qualities with the practical mastering of technique. The prac-tical mastering of technique makes the wrestler ap-

PREFACE

pear faster, more agile, more enduring, stronger, more daring, and more decisive. For example, a wrestler who is technically well prepared utilizes, simultaneously or sequentially, so many muscle groups, that in competition he always appears more powerful than even his stronger opponent. Also, a technically well-prepared wrestler uses less energy because he does not bring into play any un-necessary muscle groups and does not strain himself because he has many ways to neutralize an unexpected attack. The practical mastering of technique allows a wrestler to become less tired and objectively to seem to have greater endurance and strength.

When a wrestler masters a large number of technical elements he also becomes more agile and is able to coordinate his actions with quickly chang-ing situations. The proper technique gives a noticeable gain in speed because it allows for max-imum rhythm of the working muscles. This maxi-mum rhythm of the working muscles is one of the major factors guaranteeing speed of movement or, as the wrestlers say, "sharpness." Further, the

12 PREFACE

technically trained wrestler is not afraid of com-plicated situations and goes after holds with no hesitation.

Even a wrestler with excellent physical develop-ment must have a wide variety of technical skills to develop a winning strategy and to overcome his op-ponent's resistance. The wrestler who has mastered techniques has a more pronounced ability to build a combination of holds necessary to become a cham-pion.

Today's techniques were developed by our best wrestlers and most creative coaches. These coaches and wrestlers took the best from our earlier techniques and combined them with many elements of the more modern international style. These new techniques are surprisingly multifaceted and become richer from year to year.

The syllabus has captured this multifaceted technique. No other book to date has been able to capture, in sequential photos, the best wrestlers and coaches in the world executing their best tech-niques. The U.S. Wrestling Syllabus should serve as a guide to proper technique for both coaches and wrestlers.

W hen a great champion decides to write a book on wrestling, he and his book deserve deep respect. This is an opportunity to express to Stan Dziedzic, by written words, my compliments and my great admiration. This work is the result of his prac-

FOREWORD

tical experiences as both an athlete and coach and scientific knowledge, and therefore merits our com-plete consideration.

There have been many contacts between Stan Dziedzic and myself. I got to know him both as wrestler and expert. His participation in various FILA working groups, in the FILA Coaching Commis-sion meetings, and particularly in the lectures he gave at the 1980 Cavtat, Yugoslavia Coaching Clinic, met with warm approval of all in attendance. The best experts in the world had the opportunity of com-ing into contact with an excellent connoisseaur of the theory and practice of wrestling.

Stan Dziedzic has poured his knowledge and ex-perience into this book, not only enriching the actual professional literature, but also opening new horizons in the theory of wrestling.

FILA is willing not only to recommend the book, but also to use it as a resource for the methodology of professional activities in coaching. Such a work has been expected for a long time.

On the FILA's behalf I wish to express to Stan Dziedzic our gratitude for another valuable work.

Milan Ercegan, President, FILA

1 MASTERING WRESTLING TECHNIQUE

A great deal of practice and study is required before a wrestler can master any particular technique. The mechanics of a particular technique are only a small part. A wrestler should also have a clear image of each component of the technique, its sequence and rhythm, as well as the role each part of the body plays.

The execution of a maneuver may cause particular defensive reactions by one's opponent. A wrestler must recognize and combat these defenses instan-taneously. Further, he needs to know both the favorable conditions for executing a technique and the ways of creating these favorable conditions. Finally, a wrestler must know the rhythm of the set-up and the technique.

In the course of mastering a technique, a wrestler must learn the following: (1) The place the technique holds in the arsenal of

wrestling skills. The popularity of the tech-nique, and the percentages of success for the hold. (Example: a single leg takedown has a greater percentage of success than the head-lock, but your opponent will be more likely to expect it.)

(2) The physical qualities that are important in the fulfillment of the technique. Strength, speed, balance, flexibility, agility and endurance are some of the traits that might be considered.

(3) The proper mechanics of the technique. (4) The rhythm of the technique. (5) Other techniques that might work in conjunc-

tion or sequence with this technique. (6) The muscles utilized in the execution of the

technique and how the wrestler can develop them.

(7) The different variations of the technique forced by your opponent's reaction to the maneuver.

(8) The appropriate strategic preparation and how you can create favorable conditions for the technique.

(9) The possibility to combine certain parts of this hold with other techniques. (Example: the foot-work employed in the execution of a headlock is also used in doing an arm throw and hip toss.)

(10) The defenses to the technique, and how you should react to each defense.

THE UNITED STATES WRESTLING SYLLABUS

After several training sessions, a wrestler should begin to know the place of a technique in the arsenal of wrestling skills, the importance of particular physical qualities in the fulfillment of this maneuver, and the proper mechanics of the hold (points 1, 2, and 3). As training sessions continue, a wrestler should be developing the rhythm of the technique (point 4).

After mastering the mechanics and rhythm of a hold a wrestler will need to challenge himself in order to progress. In subsequent lessons a wrestler should ask his opponents to create obstacles and learn the correct techniques to overcome these obstacles (point 5). One should develop the muscles involved in the move both while practicing the technique and during a specific strength training program (point 6).

Mastering the different variations of a hold, learning the proper strategic preparation for a move, combining certain parts of a technique with other techniques, and counteracting the various defenses to a maneuver are particularly difficult tasks. Ex-perience, practice, feedback , and knowledge of your physical components are important in developing these skills (point 7, 8, 9, and 10).

The syllabus contains the necessary information, but mastering technique will depend on the amount

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of time and effort you are willing to expend. It is well known that each person must develop skills that cor-respond to his age level and wrestling background. The younger and inexperienced wrestlers should first master the basic skills and then l e a r n -progressivelythe more advanced holds. When young wrestlers are left alone in wrestling, they fre-quently build bad habits which are very difficult to correct later.

The U.S. Wrestling Syllabus should serve as both a reference and technical guide. The set-up, posi-tion, and finish are illustrated by some of the best technicians in the world. The total approach, which includes the related techniques, can be an integral part of the acquisition of a wrestling skill. The se-quence which starts with the basic techniques and progresses into the more advanced is a guide for all age groups.

As you can see, the task of mastering a technique is a complicated and tedious one. There are various methods available to accomplish the task. Repeated drilling, diversified drilling, and part drilling are some of the most effective methods. Each of these has a separate purpose in the acquisition of wrestling skills.

Repeated drilling is defined as repeatedly exe-cuting the same technique without any change in

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the conditions. The purpose of repeated drilling is to develop proper mechanics. In order to accomplish this goal effectively, a wrestler must have a clear im-age of every component of the hold. Without this clear image, a wrestler will develop bad habits that will be difficult to correct later.

Diversified drilling is defined as performing a technique under different conditions. This type of drilling plays an important role in mastering a move by assisting him in developing the proper rhythm of the hold, in learning how to react to counters, and in developing different variations of the technique. The essential means of altering the conditions are: choosing partners of various sizes, strength, weight, and temperament; changing the reactions of the partner to the technique; and approaching the maneuver from different positions.

In part drilling the technique is broken down into three phases; the set-up, attack and finish. Each phase is drilled separately in both the repeated and diversified format. This will help the wrestler under-stand what other techniques work in conjunction or in sequence with the move, what some of the strategic preparations for the hold are, and what parts of the maneuver can be combined with other techniques.

There are several other areas that affect the ac-

MASTERING WRESTLING TECHNIQUE

quisition of sports skills. The quality of the model and the test and feedback also contribute to learn-ing a wrestling technique effectively. In order to learn the proper mechanics of a hold, it is important to have a good model. This is the greatest benefit a wrestler can derive from The U.S. Wrestling Syllabus. The syllabus has captured proven techni-que, in proper sequence, demonstrated by the best models in the world.

In addition to having a proper prototype, an athlete must be tested and receive feedback. The test should be rigid enough to extend a wrestler and allow him to measure his improvement. Since the quality of feedback is so important, an athlete should acquire as much feedback as possible. Both the observations of the coach, and the viewing of video tapes and films can be valuable tools in mastering holds. Further, a wrestler should review methods of improving his skills, altering awkward motions, and eliminating his mistakes.

Once a wrestler has mastered a strong technical base, he is ready for the next step: strategy and tac-tics. A level of good performance depends largely on the ability of the wrestler to anticipate, in a correct and detailed manner, the tactics he is going to implement during each match.

2 STRATEGY

I n order to master strategy, a competitor must be well prepared physically, psychologically, and technically. The mastering of strategy can not be over-emphasized. The more a wrestler knows about strategy, the more capable he will be in creating favorable situations, and the more points he will be able to score while investing less energy and strength. In fact, it is primarily the strategy that determines the efficiency of a technique. Even the simplest hold is a very efficient weapon, if tactically set-up and efficiently performed.

A competitor must first command the technical skills before he can master strategy. Limited technical skills restrict the scoring possibilities of a wrestler and make his actions predictable. An athlete who is able to execute only one or two holds will not be successful in championship competition. Once a wrestler's opponent discovers what his few techniques are, he will be unable to use them effec-tively. The element of surprise is effective only the first time.

A wrestler's strategic possibilities are also af-fected by his physical abilities. Highly developed speed, strength, dexterity, and endurance enable a

wrestler to select at a given moment the most ap-propriate way to secure a hold. For example, a wrestler with good endurance is able to execute an appropriate attack on his opponent no matter what the tempo of the match. Wrestling strategy can change as a result of a development of physical qualities. On the other hand, a more detailed knowledge of wrestling strategies contributes to a better manifestation of a wrestler's physical qualities. For example, the speed with which the wrestler performs a given hold and the strength he demonstrates during a hold greatly depends on his ability to assess strategically even the slightest change in the situation.

If a wrestler is not prepared psychologically, he will be overly worried before his match. In such a case, he will lose his self-control and ability to make the appropriate strategic combinations. A wrestler afraid of dangers and obstacles is usually prey to a strong-willed opponent.

During the match, it is up to the wrestler alone to solve various technical problems and fulfill various technical tasks. In order to follow the right course within a match situation, to decide the most ap-

18

appropriate solution rapidly, and to react correctly and on time to all changes, the wrestler must be able to think logically and anticipate his every strategical maneuver. Strategic thinking should be based on quick estimation of the situation. It is indispensible to be able to think quickly. For this reason it is necessary to acquire, even to the point of automa-tion, all stages in the performance of a given hold; this ability will enable you to make a quick assess-ment of a given situation and to take appropriate steps to remedy the problem. This skill is the most important feature of strategic thinking. The suc-cessful execution of a hold depends on an athlete to anticipate and visualize future action and its main feature.

The wrestler's ability to think in this fashion depends on his knowledge of wrestling. It is necessary to be able to recognize the qualities of the opponent, to read his thoughts, and to anticipate his actions. The wrestler who is able to read the thoughts of his opponent and anticipate with the highest degree of probability enhances his own possibilities in any given situation. Then the actions of his opponent are not unexpected and sudden to him; thus, they will not be as effective. On the other hand, it is not always possible to anticipate everything. During a match, unanticipated situations

STRATEGY

and obstacles may arise and require a change in the preconceived plan. Very often the wrestler has to cope with the fact that his opponent will defeat this plan; for this reason, it is important for a wrestler to develop the flexibility of strategical thinking. The on-ly guarantee of success is the creative approach to the solution of a given problemthe ability to think through the adversities that arise in the execution of a hold and to constantly discover new means to solve these problems.

3 TACTICS by Ed Yarovinsky

A wrestler may utilize various set-ups to create favorable conditions for a particular technique. The seven set-ups most frequently employed are: breaking of balance, "binding" the opponent, maneuvering, threat, repeated attack, double decep-tion, and challenge. No definite sequence is im-perative, and each method may be used separately or in combination. Breaking of Balance. By jerking, pulling, and

pushing the opponent, a wrestler may succeed in breaking his adversary's balance. Once this is achieved, the opponent partially loses his ability to defend himself and must concentrate his efforts on regaining his balance. The attacking wrestler should capitalize on his opponent's vulnerability by using a sequence of several forceful and tenacious movements. By so doing, he will create favorable conditions for several other techniques.

"Binding." By "binding" his opponent's hands, arms, neck, or a combination of these, a wrestler limits the scope of the opponent's actions and almost eliminates the possibility of attack. "Bind-ing" also forces the opponent to concentrate his attention on breaking free from this control. This is

a favorable condition and can be used successful-ly in all phases of wrestling.

Maneuvering. Maneuvering involves changing one's position on the mat and actively capitalizing on the opponent's tie-ups. The attacked opponent concentrates on the movements of the other wrestler, tries to either maintain control or give it up; and attempts to maintain a certain distance and stance while changing his position. By maneuvering properly, a wrestler may force his op-ponent either to move in a favorable direction or to remain stationary. Maneuvering can distract the opponent's attention, can give the wrestler time to learn his opponent's intentions, and can stymie his opponent. By maneuvering, a wrestler can create conditions favorable for applying certain tech-niques and for solving tactical problems en-countered during the match.

Threats. Threats are deceptive movements pre-tending to aim at grabbing a certain part of the op-ponent's body. If the opponent reacts defensively, the wrestler must quickly grab a different part of his body. For example, if a wrestler attempts a col-lar tie-up, and the defendant raises his head to pro-

20

tect it, his body and legs are left vulnerable to at-tack. A threat can open the opponent's defense, can make him take a certain stance or position, and can produce a particular reaction. The wrestler must be aware, though, that the opponent can react by attacking. Therefore, the wrestler must be very attentive.

Repeated Attack. In a repeated attack, the wrestler uses the same technique a second time. First, the technique is carried out with less than full effort, enabling the opponent to defend against the technique easily. This will delude the opponent in-to thinking that the technique is easily foiled. The second attack must then be carried out using max-imum effort. If the opponent reacts with less than full effort because of the previous attempt, the technique will be successful.

Double Deceit. In the double deceit, a wrestler hopes to deceive his opponent into thinking that the real technique by which he wants to succeed is a false alarm which need not require an adequate defense. If such a deception is attained, a wrestler will conduct the same technique again, but this time he will use full force. Double deceit differs from repeated attack only in that in the former the wrestler employs two different techniques. After having convinced an opponent that the first tech-

TACTICS

nique was a bluff, a wrestler imitates the carrying out of the second technique in order to deceive his opponent into thinking that the second technique will actually be carried out. This creates a favorable condition for the wrestler to employ the first technique successfully.

Challenge. Challenge prepares the ground work for conducting counter-techniques; it also forces the opponent to switch to active participation. It is based on the utilization of stances which convince the opponent that conditions favor attack and active participation. Such provoked attack must be promptly answered by carefully prepared tech-niques and counter-techniques. The wrestler who uses challenge must have quick reactions, must be able to move fast, must be resolute, and must have very good counter-technique. Delays and indecisiveness will enable the opponent to attack successfully.

TACTICAL COMBINATIONS Combined application of various techniques is

based on the assumption that a wrestler's first technique will be answered by his opponent either with a defense or with a counter-attack to which the wrestler immediately responds with another tech-nique. It may often happen that the first technique


makes the opponent take a stance favorable for carrying out the second technique.

Combinations are usually divided into three categories: The first category can be expressed by the formula

techniquetechnique. The first technique in this case produces favorable conditions for implemen-ting the second.

The formula for the second category is fake tech-niquedefensive counter-techniquetechnique. In this case, the first technique is aimed at making the opponent either defend himself or counter-attack so that a favorable situation is created for applying the next premeditated technique.

The third category can be described as tech-niquedefensetechnique or counter-technique. The first technique of this combination is con-ducted in full force, and if the opponent uses defense or counter-defense, the wrestler quickly switches to the technique which is the most ra-tional in the given situation. Past matches have attested to the fact that com-

binations in competition require high standards of physical training. As a result, all the combinations must be diligently practiced while the wrestler is in the process of training. Using the first group of com-

21

binations requires great strength and flexibility, very good coordination of movements, and also the development of such qualities as resoluteness and persistance. The second group demands quickness, very good reactions, self-assurance, initiative, and self-control. One must remember the opponent does not always counter the wrestler's initiative with defense. Therefore, the wrestler who starts the com-bination with a fake technique must be very atten-tive and ready for any action. To master the third group, a wrestler must attain perfect knowledge of all the possible variations of defense and counter-defense, must master a whole set of techniques, must acquire a very highly developed level of physical prowess, and must attain firm will power.

Favorable conditions are also created as a result of the opponent's mistakes. An experienced wrestler, especially the one who knows his oppo-nent well, can almost always observe if the oppo-nent has made a mistake, or whether he is simply provoking him to take a certain course of actions. The most important thing is to determine the mistake and to capitalize on it as quickly as possi-ble. Experience reveals most mistakes are made either near the edge of the mat, or when getting up from par-terre to a standing position, or when the strength of the opponent is either under-or over-

22

estimated. The most opportune time for creating favorable conditions is when the opponent is tired because in such a state his attention, quickness and strength diminish to the point where he often becomes apathetic or careless. Other situations conducive to improving conditions exist when the opponent is complacent, distracted, depressed, timid or frightened.

TACTICS OF CONDUCTING A MATCH

Tactics of conducting a match are aimed at achieving a predetermined goal by way of solving certain.problems which may arise.

Each wrestler has a certain individualistic style of conducting a bout which is characteristic only of himself, but all wrestlers utilize the tactics of attack, counter-attack, and defense. Attack is characterized by active participation by the wrestler who attempts to strike first. Nonstop attacks involve either a series of attacks or the implementation of spurt at-tackssingle attacks. The stop series of attacks is based on the wrestler's initiative, on the imposition of his will, on his pace, on situations convenient for him, and on poses and stances favorable for im-plementing various techniques and counter-techniques. The wrestler, by using this tactic, sup-

TACTICS

presses the will of his opponent by refusing to let him concentrate and prepare for active participa-tion. This tactic requires endurance and will power.

Spurt tactics are separate attacks that use various swift-paced actions in the hope of creating condi-tions favorable for implementing some desirable technique. The suddenness and the pace of a spurt attack, which lasts for 15-20 seconds, are aimed at stunning the opponent and disturbing his defense. This tactic can also be conducted at a different pace. It requires skillful coordination of one's movements and an instant result.

The tactic of counter-attack is characterized by answering and countering all the moves of an oppo-nent. The wrestler creates a certain situation which entices his opponent to act. The wrestler then forestalls his opponent's actions with a counter-technique. This attack requires quickness of reac-tion, self-assurance, and courage. It should not be used if the opponent counter-attacks.

A wrestler's defense involves constant use of defensive actions intermingled with simple counter-attacks aimed at capitalizing on the gross mistakes of the opponent. The use of this tactic requires great self-control as well as a good knowledge of defense; otherwise, the wrestler quickly makes his intentions clear to the opponent and also receives a warning


from the official. That is why attack becomes necessary.

The modern level of a wrestler's professionalism requires a very detailed laying of ground work before conducting a match with any opponent. Thus, a tac-tical plan of each match should be made beforehand in which each of the following must be determined; the goal of the match, means and ways of achieving it, types of tactics and their combinations, distribu-tion of one's strength by periods of the match, and possible variants of modifying the plan. One's own qualities must be objectively compared with the qualities of the opponent. If the opponent is unknown, reconnaissance must be conducted dur-ing the match. Each plan of the wrestler must have a goal which may be achieved by general means. Determining the goal depends on the character and the type of competitions, the opponent's strength and experience, and the goal one hopes to attain. Means and ways of achieving the goal are deter-mined by technical and tactical factors, physical qualities and capabilities, and the opponent's will power. Achieving the goal involves choosing basic means of tactical preparation in the execution of certain techniques, in the kinds of tactics and in the ways of applying them. It is advisable to foresee the tempo of the match and its variants, as well as one's

23

choice of stance and distance. The carrying out of the tactical plan depends foremost upon the wrestler's determination and confidence. A wrestler must be creative in carrying out a plan; he should always take into account the actual situation and never follow any plan blindly.

One should not forget that tactics require the quick and reasonable implementation of all the means possible that help solve the problems which are obstructing the achievement of a certain aim. The minute breaks should always be used not only for rest, but also for analyzing one's plan and mak-ing all necessary corrections. Therefore, if in the first period of the match the implementation of the plan has been complicated and, for some reason, has been prevented from being changed, defense should be used. Later, during the calmer at-mosphere of the break, the match can be better analyzed. During such time, the wrestler's coach must be of great help to him. Attention and tactical thinking play an important role in the realization of a tactical plan. In any case, whether or not the plan has been fulfilled, it must be analyzed after the match so all the mistakes can be marked and avoid-ed in the next match.

The prematch state of the wrestler also has a pro-found influence on whether he succeeds in fulfilling

24

his plan. It is quite possible a very good and properly constructed plan will not be carried out because of the negative emotional state of the wrestler. This must be taken into account, and everything possible should be done to eliminate these negative re-sponses.

TACTICS OF PARTICIPATING IN COMPETITIONS These tactics are aimed at winning by using all

the means available while taking into account the actual circumstances. Based on his true capa-bilities, each wrestler sets a goal of reaching a cer-tain place in the competitions; simultaneously, however, he must also always aim at attaining the first place. This is the main goal, and all factors must be directed to attaining it. Hence, the wrestler must: Know all the rules and regulations concerning the

competitions. Know his opponents well and know their

capabilities in these particular competitions. Distribute his strength for all the days of the com-

petition. Carefully watch the competitions and analyze the

results achieved by all his opponents. Determine the best routine for keeping his weight

under control and for acclimatization.

TACTICS

Knowledge of rules and regulations allows the wrestler to know what effect the results of his match will have on his final place finish and how a par-ticular action will be scored. Knowing one's op-ponents enables the wrestler to make a good tac-tical plan of matches and to predict possible results of his opponents. Correct distribution of one's strength during the competitions determines the wrestler's success to a great extent. The wrestler must divide his use of energy in each match in such a way as to achieve the best results without de-pleting resources.

The wrestler must closely watch the competitions and objectively evaluate and analyze his results as well as those of his opponents. Thus he can not only predict but also make further plans for improving his performance at competitions. This must be done even when the wrestler has been eliminated from the competition so he can acquire experience for his future competitions.

Sound weight control will free the wrestler from many troubles during the competitions and will create better conditions for wrestling. Unlike in tour-nament competition, tactics of performance in in-dividual matches consist mainly of the wrestler us-ing all his abilities to attain his goal.

4 STANCE

Gene Daw's and his Mongolian opponent illustrate staggered stances.

T he stance is the starting position for initiating takedowns and is an important aspect of suc-cessful takedown wrestling. Yet some wrestlers are unaware of the characteristics of a good stance. Takedowns require speed and proper position. A proper stance should be relaxed and comfortable. A tense stance requires a wrestler to relax before he can attack; therefore, time should be spent on learn-ing to relax and move in your stance. Relaxed doesn't mean limp. Certain muscle groups like the lower back and thigh region will be flexed because of the position.

There are nine varieties of stances. A stance can be square, staggered right, or staggered left as well as high, middle, or low. The major difference be-tween the square and staggered stance is the posi-tion of the feet. In a square stance, the feet are parallel; in a staggered stance, one foot is slightly ahead of the other. Neither stance is better than the other; instead, each has certain advantages over the other. A wrestler should choose the stance that best fits the tactics and techniques he uses. In a square stance, a wrestler can penetrate with either foot, can move well and in all directions, and doesn't have

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either leg closer to his opponent. In a staggered stance, a wrestler has his feet in a ready position for penetration, can penetrate with the same leg on all his techniques, and only has to master one-sided defense. In either the square or staggered stances, a wrestler generally has better attacking capabilities in the higher and middle positions while a lower position has better defensive properties. In a live situation, most wrestlers change from one stance to the other, but will consistently return to the most comfortable stance.

Whatever stance a wrestler chooses, he must realize that the stability of his body will not be equal in all directions since it is impossible to create a takedown stance with equal angles of support. This section will show the different stances and illustrate the important characteristics of each.

SQUARE STANCE

Front View: Feet are slightly wider than shoulder width. Palms are facing each other, and elbows are in. Head is up, and the knees are rotated inward so that the weight is always on the inside of the balls of the feet.

STANCE

M

The lines of gravity start from man's center and pass through the knees to the insides of the balls of the feet. '

'Sasahara, Shozo. Fundamentals of Scientific Wrestling, 3rd Edition, pg. 59, 1978.


Side View: Knees and hips are bent slightly. Head is up and looking forward. Eyes are concentrating on opponent's whole body and not on any specific part. Shoulders are slightly in front of both feet. Back is straight but shoulders are rounded. Forearms are parallel to the mat.

27

;,2X

28

STAGGERED STANCE

Front View: Feet are slightly wider than shoulder width. Weight is on insides of the balls of feet. Palms are facing each other and elbows are in. Head is up but not strained, and knees are rotated inward.

STANCE

Side View: Knees and hips are bent slightly. Shoulders are slightly in front of both feet. Back is straight but shoulders are rounded. Fore-arms are parallel to the mat and one foot is slightly forward.

5 MOTION

A wrestler should be cautious when changing positions. When moving, a wrestler's body is momentarily supported by one leg and therefore in a less stable position. The following steps should be incorporated when moving in the standing position:

(1) Move with slightly bent legs. (2) Lead with the foot nearest the direction mov-

ing; for instance, when moving right, a wrestler starts with his right leg.

(3) Avoid crossing your feet or getting them too close together.

(4) Take short, quick steps. (5) Don't change the position of your torso in rela-

tion to your other body parts while moving your feet.

(6) In a wrestling stance, the points of the center of gravity are on the insides of the balls of the feet. When moving, always move to maintain these points of gravity.

There are three basic distances when a wrestler is in motion:

when the wrestlers are unable to tie-up with each other,

when the wrestlers are at arm's length, when the wrestlers are in a tie-up position. During a match the distance a wrestler maintains

depends on his tactical and technical intentions. A wrestler will often find himself at a variety of distances, however, and should be able to execute techniques and defend himself from any distance.

"Sasahara, Shozo. Fundamentals of Scientific Wrestling, 3rd Edition, pg. 59, 1978.

6 BREAKING OPPONENT'S BALANCE

T he ability to break the balance of an opponent is a fundamental to becoming proficient in take-down wrestling. Few wrestlers completely command the skill of breaking their opponent's balance. The time a wrestler spends to master this skill would be time well spent.

Japanese Olympic Champion Shozo Sasahara uses the following diagrams to illustrate the con-cept of breaking an adversary's balance.*

The triangles shown in Fig. A and B illustrate the direction to break a competitor's balance. The feet of a wrestler in the neutral position form the base of an isosceles triangle. The vertices mark the points where an opponent's balance is most vulnerable. A wrestler should constantly be aware of the orienta-tion of his competitor's triangle.

Moving an adversary in the directions marked in the circle requires a push, pull, and/or snap. A wrestler may utilize the push to force his opponent backward and the pull and/or snap to maneuver him forward.

It is important to remember when a wrestler is off-balance his capacity to defend himself is significantly diminished, and his efforts will be

geared to regaining his balance. A tactical wrestler will seize this opportunity by attacking his opponent to acquire a takedown.

Figure B

BACK

RIGHT BACK LEFT BACK

RIGHT FRONT ' \ ^ _ L _ - - ^ " LEFT FRONT f

FRONT

Figure C "Sasahara, Shozo. Fundamentals of Scientific Wrestling, 3rd Edition, pp. 25-27, 1978.

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Pictorial illustration of breaking opponent's balance.

3

1 1

BREAKING OPPONENT'S BALANCE

PES

IS

7 THE TIE-UP AND BREAKING OF THE TIE-UP

Stan Dziedzic, 1977 World champion, controlling Wade Schalles, 1977 World University champion, with a 2 on 1 in the 1976 Olympic trials.

T he tie-up is a fundamental of takedown wrestling often overlooked by coaches and wrestlers. Wrestlers lose matches because they are unable to break their opponent's tie-ups effectively. Time should be spent on mastering control and breaking your opponent's control in the tie-up positions.

A wrestler who has mastered the tie-up will have the necessary base to control the tempo of the match and the means to maneuver his opponents in-to positions favorable for particular techniques. He also will be able to limit his opponent's attack. A wrestler not mastering the tie-up will be unable to hide his weakness and will be easy prey for wrestlers who have mastered the control of the tie-up.

As you will see in the syllabus, the tie-up is the basis for many wrestling tactics and techniques. Im-portant points on tying-up: Reach short and quick when tying-up. Grip tight on tie-ups. Avoid making contact with your head. It restricts

your movement and warns your opponent of your movement.

The instant you acquire control of a tie-up, use it to create the conditions for a takedown.

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1 Head tie-up.

4 'S

THETIEUPAND BREAKING OFTHETIEUP

2 Head and bicep tie-up. 3 Inside bicep-shoulder tie-up.


4 Double bicep tie-up. 5 Double wrist tie-up. 6 High underhook tie-up.

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7 Low underhook tie-up. 8 2 on 1 baseball grip tie-up.

. ; . ;

THE TIE-UP AND BREAKING OF THE TIE UP

9 2 on 1 undergrip tie-up.

\i

'


10 2 on 1 overgrip tie-up. 11 Over and under tie-up. 12 Head outside 2 on 1 .


7.1 Stan Dziedzic breaking the wrist control tie-up.

1 My opponent has control of both my wrists.

2 / reach across and grasp my op-ponent's wrist. When I achieve control, I rotate my wrist toward the thumb, breaking my opponent's hold.

3 Now that I have treed my wrist, I move up for my 2 on 1 control.


7.2 Dan Gable clearing the shoulder tie-up.

1 My opponent has a shoulder tie-up, which gives him a feeling of control and an awareness of my body position. I want to break free of this position and move my opponent to create conditions for takedowns.

2 Here my elbow comes across while my opposite hand reaches up to catch his wrist. At the same time, I shrug my shoulder as / begin to twist.


3 / turn my body in, pulling my opponent's wrist off. 4 ( now have control of the 2 on 1 and shall look for my take-down.


7.3 Dan Gable clearing the shoulder tie. Opposite side view.

1 2


7.4 Stan Dziedzic counteracting the double bicep tie-up.

1 In this position my opponent has the 2 To change the tie-up position, I 3 My left arm is straight, and my thumb inside biceps tie-up. Unless I break or straighten and rotate my left arm inward is rotated inward as tar as possible, block-change this position, he will take advantage while my right arm starts to circle under my ing my opponent's right shoulder. At the of this favorable condition. opponent's left arm. same time, my right hand is controlling and

pulling his right wrist.


4 Once / pull my opponent's wrist all the way to my chest, my left arm releases and lifts under his right arm.

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5 / now have control. My opponent's arm is pulled tight into my chest. I have shoulder and body position, and I am now ready to react to this favorable condition. I must make certain I'm as high as possible on his arm. I'm also holding his arm in and pushing up with my left arm.


7.5 Stan Dziedzic breaking the bicep and collar tie-up.

1 My opponent has control with a biceps and collar tie-up. I reach my right hand over the top of his left arm and begin to turn my body in order to put pressure on my opponent's elbow.

2 / continue to turn, and reach my right hand over the top of my opponent's arm to his far wrist. This puts a great deal of pressure on his elbow.


3 / continue my turn, drawing my opponent's wrist toward me and tight to my chest.

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4 I now have broken his tie-up and secured the 2 on 1 control.


7.6 Don Behm breaking the 2 on 1

1 My opponent has control of the 2 on 1. My first reaction is to shrug my shoulders, bend my arm, and block with my forehead.

tie-up.

2 At this point, I am moving my hips back and yanking away.

3 / now lunge into my opponent, using my forearm as if giving him a forearm shiver. It is important to use the power of my legs.


4 My opponent is now off balance. I am maintaining this drive, and continuing to crowd my opponent.

5 / continue to move in, looking for my attack.


7.7 Stan Dziedzic counteracting the 2 on 1 tie-up.

1 The first thing I have to do to break the 2 on 1 is keep my con-trolled arm bent and my shoulder shrugged while driving into my opponent.

2 I'm now trying to pull my opponent's tar elbow toward me to break the tight grip he has on my wrist.


3 At this point I've already Jerked my arm free, and I'm reaching for my underhook.

4 / now have control. It is important to emphasize I still have my opponent's far elbow, and my elbow is pinching his hand against my side.

50 THETIE-UPAND BREAKING OF THETIEUP

1 As in most breaks for the 2 on 1,1 have my shoulder shrugged and arm bent, while I drive into my opponent. I'm also controlling his wrist.

2 I'm now pulling my opponent's wrist tightly to my chest which frees my left wrist. Also my left arm is dropping down to secure an underhook.

7.8 Stan Dziedzic countering the 2 on 1.


3 / now have an underhook and far wrist control. A I am looking to capitalize on my control and take my oppo-nent down.

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7.9 Stan Dziedzic breaking free from the underhook tie

1 My opponent has a deep underhook but his hand is farther down my back and not high on my shoulder. This position allows me to put strong pressure on his elbow and shoulder.

THE TIE-UP AND BREAKING OF THE TIE-UP

-up.

2 At this point I'm pushing my opponent's hip away and drop-ping my weight down which puts pressure on his elbow and shoulder. At the same time my right hand is ready to catch his arm if he pulls away.


3 / now have my opponent's arm. I want to emphasize how far back my left leg is. This drops my weight down even farther.

4 I'm now moving in to gain 2 on 1 control.


5 / have a strong 2 on 1, and I'm looking for a favorable condi-tion I can take advantage of.


7.10 Stan Dziedzic clearing the high underhook tie-up.

1 in this photo my opponent has a high underhook. As I drive into him, I bring my right hand up to push off his chest.

2 Pushing my opponent back, I bring my left arm over the top of his shoulder. It is im-portant to rotate my wrist so I can thrust my arm free.

3 / have cleared the high underhook and will proceed to move in for my attack.

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7.11 Ion Baciu breaking away from the underhook. i

1 My opponent has a deep underhook. If I don't react and break this tie-up, he will capitalize on the favorable condition.

THE TIE-UP AND BREAKING OF THE TIE-UP

2 / step back with my right foot, dropping my weight down as I also bring down my arm. This put tension on my opponent, mak-ing him pull back.


3 At this moment I drive in, making my opponent feel I am go-ing for a body lock. He reacts by dropping his hips back.

4 As my opponent drops his hips back, I circle my arm over top of his arm, while I move away and to my right.

58 THETIE-UPAND BREAKING OFTHETIE-UP

5 I continue to move away till I break free of the underhook tie-up. At this point I'll be moving back in to gain my control or to attack.


7.12 Stan Dziedzic counteracting the over and under tie-up.

1 My opponent and I are in the same tie-up position, an "over and under."

2 Here I am "pummeling," trying to pry my right hand between my opponent's arm and my chest.


3 With my hand in position, I am shrugging my shoulder and straightening my arm as I try to drive my arm inside.

4 My arm is inside, shoulder shrugged, and my elbow raised. With this deep control, I look for the conditions favorable for a takedown.

8 BREAKDOWNS FROM BEHIND

Lee Kemp, three time World champion, tries to move behind Dave Schultz, World University Silver Medalist, in the 1980 Olympic wrestle-offs.

T aking your opponent to the mat from behind is an important component of takedown wrestling. A wrestler, who wishes to become proficient at tak-ing his opponent down, will need to master these techniques. In addition, in the international style of wrestling, a takedown is not awarded until your op-ponent's knee touches the mat; therefore, learning to break your opponent down from what is common-ly referred to as the "tr ipod" position is imperative.

62 BREAKDOWNS FROM BEHIND

8.1 Ben Peterson demonstrates how to force all of the weight onto his opponent's thigh, causing it to collapse.

1 At this point I am driving all my weight onto my opponent's right leg.

2 / continue dropping my weight, forcing my opponent to shift his weight to his right leg.

us wrestling syllabus

Documents

national wrestling staff

fn wrestling syllabus

usaaau olympic coach

mastering wrestling

world cup champion1975

naau champion1969

naau champion1977

pan american champion