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Now, of course, pro wrestling is still a scripted affair and on a case-by-case basis the audience doesn’t usually change the outcome of a story as it happens – although this is something that can happen in retrospect, with the most obvious example being Batista being obviously scripted to be a triumphant returning hero at this year’s Royal Rumble and the crowd instantly turning on him because they had believed they were finally getting the Daniel Bryan push they had demanded – which eventually led to the “Boo-tista” movement, Batista turning into an arrogant heel (because it was the only way to get a crowd reaction they could use) and WWE eventually writing Bryan into the World title match as the fans demanded. A long time ago some smart aleck described pro wrestling as “ a LARP where the wrestlers are playing athletes and the audience is playing the audience, and everybody’s in on it.” And that’s exactly true. What is unique about pro wrestling is this: it is the only creative endeavor where the audience affects the work in real time.
But performance art still exists pro wrestling is just a commercially successful version of it, and that is not unique. I just recently managed to codify my theory about how pro wrestling is unique as an art form – not just Max Landis’ thingy about why pro wrestling is special, which is notable largely because it is one of the few times where Max Landis is not entirely insufferable, and because it (correctly) connects pro wrestling to performance art.
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