Wrestling Is The Modern-Day Shakespearean Theatre
When we think of Shakespeare, we envision classical performances on a stage filled with soliloquies and a whole lot of drama. On the other hand, pro wrestling’s offerings like WWE and AEW make us think of athletes performing high-flying moves and delivering exaggerated promos in arenas filled with screaming fans.
Though they may seem worlds apart, pro wrestling and Shakespearean drama share far more similarities than expected. Both are deeply rooted in storytelling, rich character development, and the raw spectacle of human conflict, so could pro wrestling be the modern-day Shakespearean theater, hidden beneath the promos and suplex throws?
The Face’s Journey
If one thing is certain in wrestling and Shakespeare, storytelling is king. Shakespeare spun intricate tales about the complexities of human nature, power struggles, love, justice, you know “tales as old as time.” Wrestling may not always have the same highbrow flair, but otherwise, it’s the same thing, with both built on the “hero’s journey,” where larger-than-life figures rise, fall, and grapple with the weight of their narratives.
In wrestling, the hero, or “face,” usually meets insurmountable odds, much like a Shakespearean protagonist who wrestles with external enemies and internal demons. Wrestlers often hit moments of deep moral reflection like Shakespeare’s heroes before their final battles. Take Daniel Bryan (currently Bryan Danielson in AEW) and his meteoric rise in 2014, for example. His journey echoes Henry V, the underdog king who emerges victorious against all odds.
The company had other plans that year, but the fans relentlessly got behind Bryan as WrestleMania 30 drew closer and closer. His subsequent triumph against “The Authority” is as breathtaking as Henry’s underdog victory at Agincourt. He had to defeat Triple H (the evil CEO’s son-in-law, self-proclaimed “King of Kings,” and a formidable in-ring veteran), along with an onslaught of dastardly henchmen that night to earn a spot in the main event, a three-way match with two other veterans, Batista and Randy Orton. Despite all real-life and story-driven odds, Bryan would make Batista submit clean in the center of the ring to close the show and leave the fans with a little salt in their eyes.
The Heel’s Fall
On the other hand, the “heels,” wrestling’s villains, undergo their descent, often marked by betrayal and moral collapse, which mirrors Shakespeare’s tragic figures.
When Seth Rollins‘ revealed his evil plot and turned on his brothers in The Shield with a chair shot to the back, it sent shockwaves through the WWE and wrestling world and mirrored Brutus’ betrayal of Caesar. Arcs of loyalty turned treachery, redemption, and the inevitable moral fallout, both in wrestling and Shakespeare, are timeless threads that bind these seemingly different art forms together. Et tu, Sethay?
Wrestling Is A Performance Art
Shakespeare’s plays were designed for the spectacle of grand stages, elaborate costumes, and action-packed drama. They could also be scaled down to a high school auditorium. Wrestling, in much the same way, is more than just athleticism, it’s an art form wrapped in spectacle. Wrestlers wear flashy costumes, embody larger-than-life personas (gimmicks), and perform with theatrical flair to tens or tens of thousands. It’s all about the pomp and circumstance from both camps.
The Art Of The Pro Wrestling Promo
In Shakespeare’s world, characters reveal their deepest thoughts in soliloquies, speaking directly to the audience, and pulling them into the thorny inner workings of their minds. Wrestling has its version of that; the “promo.” Wrestlers often break the fourth wall, stepping out of the action to deliver fiery speeches, hyping up their motivations, or building tension for the next showdown.
Wrestling feeds on these interactions between the stars and the crowds, and promos are as crucial to wrestling as soliloquies are to Shakespeare. Whether it be an MJF masterclass in Sick Burns or The Rock’s electrifying catchphrases, these moments speak to the fans and blur the lines between fiction and reality, just like Hamlet or Macbeth spilling their deepest, darkest thoughts.
Wrestling’s In-Ring Psychology
Shakespeare’s plays weren’t shy about sword fights or brawls between characters, setting the stage for palpable tension and explosive conflict. Wrestling takes that raw physicality to a whole new level. Every match is a choreographed explosion of athleticism and emotion, with punches, kicks, throws, and high-flying acrobatics, designed to tell a story.
Good in-ring storytelling is dictated by good in-ring psychology, a collaborative effort between the performers in the ring, in many instances including the referee and producers in the back. Matches can be largely choreographed, but the pros know how to “call it in the ring,” and feed off of the crowd until they get to the planned finish. That’s just great improvisation for anyone who has studied or performed Shakespeare.
Wrestlers Must Be Well Rounded Performers
Much like early theatrical performers drive to “break a leg,” if wrestlers aren’t good at the craft and the fans don’t connect, the performance can fall flat, and if fans turn sour on a performer, they will not rise to the top of the card. Being a big star in wrestling requires more than just athleticism or mic skills. It takes a mixed bag of that and so much more to become a star like The Rock or John Cena, and it’s also part of the reason they can so seamlessly transition into acting, which is more traditionally viewed as an extension of the things old Bill Shakespeare was doing.
Take Claudio Castagnoli of AEW (formerly Cesaro in WWE). Despite being adored by hardcore wrestling fans (myself included) for his incredible in-ring talent, WWE struggled to find a good spot for him due to a lack of connection with casual audiences. It’s the same story with Shakespearean actors, one could be skilled, but if they didn’t have all the skills, they may become trapped behind the leg line. Without compelling character or the ability to provoke an emotional reaction verbally, wrestlers and actors alike watch their chances at top billing, and the rewards, diminish.
Pro Wrestling Anti-Heroes
Both Shakespeare and pro wrestling thrive on characters that seem almost too big for this world, larger-than-life figures who push the extremes of human nature. Like Macbeth’s ruthless ambition, Othello’s consuming jealousy, or Richard III’s manipulative cunning. Pro wrestling runs on the same fuel, building its beloved heroes and ruthless villains around personalities dialed up to eleven for pure dramatic impact.
Then there’s the anti-hero, a character type both forms love to toy with. Shakespeare’s Hamlet or Macbeth aren’t just “good” or “evil”; they are complex, messy, and morally gray. WWE has its anti-heroes, like “Stone Cold” Steve Austin, who doesn’t play by the rules but connects deeply with the crowd. Much like Hamlet, Austin channels a deep-seated desire for revenge against authority, tapping into that unyielding rebellious spirit audiences can’t help but root for, flaws and all. It’s these complexities that keep fans emotionally hooked. As an anti-hero, Austin is arguably the greatest pro wrestler ever. Nothing compares to the fire “Stone Cold” Steve Austin lit within the working-class WWE fans’ hearts against their most relatable foe: their bosses.
Even wrestling’s villains borrow from Shakespearean archetypes. Vince McMahon’s character during the “Attitude Era,” the evil boss that stood against our hard-working anti-hero, is a textbook Machiavellian figure. Vince McMahon is a scheming, power-hungry tyrant looking to control everything and everyone. He’s like Richard III or King Lear, plotting behind the scenes to shape the fate of HIS world. McMahon’s ruthless quest for dominance is pulled straight out of a Shakespearean tragedy, where wholesale manipulation and willful betrayal are just part of “the game.”
Wrestling Is Modern-Day Shakespeare
At its core, both Shakespearean theater and pro wrestling are built to get you right in the feels. They weave stories that hit deep, drawing on universal feelings we all know; love, betrayal, and power. Shakespeare’s plays, tragedy or comedy, are packed with moments that make you laugh, cry, and even question life. Wrestling is no different. It’s designed to deliver emotional highs and lows. Whether the triumph of the underdog or the jaw-dropping betrayal of a fan-favorite. Watching King Lear spiral into madness and despair is gut-wrenching, offering the audience a cathartic release of raw emotion, wrestling has the same goal.
Next time you’re watching wrestling, think about it. Strip away the body slams and the pyrotechnics, and what’s left, dear reader? A story. One that taps into the heart of the human experience, just like Shakespeare’s works did. Both are dramas, performed on stages large and small, designed to captivate the masses in real time.
If you aren’t squeamish, behold the aftermath of a bitter, bloody battle between two beloved brothers below and try not to feel anything. This is wrestling 👇
