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Using two major examples (2002 Wrestlemania XVII main event between The Rock and Hulk Hogan, and the 2004 Wrestlemania XX match up of Brock Lesnar and Bill Goldberg) this paper will argue that the wrestling arena is one of the most democratic and, indeed, potentially subversive forms of popular theatre. Both these events were directly and immediately influenced by their audiences, the performance narrative changing as the audience members interacted with the matches. Indeed, despite the obvious commodification of professional wrestling and its interpellation into capitalist economic systems, it presents an arena of exciting actor audience interaction rarely seen on the theatrical stage. Concluding with a brief examination of the growth in theatrical style starred rating from fans such as Dave Meltzer and Wade Keller, this paper will suggest that professional wrestling remains one of the most exciting twenty first century examples of performance based democracy.17 January 2013, World Wrestling Entertainment (WWE)'s flagship Monday night spectacular RAW: the franchise's most prominent heel CM Punk confronts returning hero The Rock. While Stone Cold was a beer swilling red neck, Punk is an alternative rock loving, tattooed advocate of a straight edge lifestyle drug free, smoke free, alcohol free yet both set themselves up as rebels challenging bigger corporate systems. Punk's promo berates both the fans for their unquenchable desire for entertainment and, seasoned with truth, the WWE business machine where "you don't get noticed until you've moved a couple of t shirts." (WWE 7 January 2013) Aping Punk's own catchphrase, self proclaimed 'People's Champion' The Rock responds "here in the WWE universe there's no such thing as the voiceless." (ibid) The Rock orchestrates the audience in a chant of "Cookie Puss", a new addition to his long line of participatory catchphrases, while Punk accuses the crowd of being "the puppets you are." (ibid) The entire scene is infused with comments about the audience and its position in the professional wrestling arena, thereby enabling us once again to read this popular self proclaimed 'sports entertainment' genre through the parlance of performance studies. For in the theatre the relationship between actor and audience shifts, depending on genre and the spatial arrangement of the arena; it varies between the illusory mimesis of naturalism which compels the audience to sit in silent darkness following a linear story, to the work of contemporary performance artists such as Marina Abramovic whose The Artist is Present encourages visitors to sit opposite her at a table, presenting herself as vulnerable and open to interaction. Wherever a performance falls on this spectrum, the relationship between the actor and the audience in the theatre is always a central concern.
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