wrestling syllabus - programaciÓn de entrenamiento para lucha olÍmpica

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WRESTLING SYLLABUS

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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 Champion—1973, 1974 (Most Outstanding Wrestler—1973)

Tbilisi Champion—1970 Pan American Champion—1971 World Silver Medalist—1969, 1971 Olympic Silver Medalist—1968 USA/AAU Elite Freestyle Coach—1982

NCAA Champion—1966 NAAU Champion—1971, 1974, 1975 Olympic Bronze Medalist—1972 USA/AAU Junior World Coach—1973 USA/AAU Pan American Coach—1979 USA/AAU Senior World Coach—1981 Head Wrestling Coach—Athletes in Action

NCAA Champion—1971 NAAU Champion—1974, 1976, 1977 World Cup Champion—1975, 1977 Olympic Bronze Medalist—1976 World Champion—1977 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 Champion—1969, 1970 NAAU Champion—1969, 1970 Pan American Champion, 1971 World Champion—1971 Olympic Champion—1972 Amateur Wrestling News

"Man of the Year"—1970 USA/AAU World Cup Coach—1977, 1978,

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

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

NAAU Champion—1973, 1975, 1976, 1979, 1980

Tblisi Champion—1974 Pan American Champion—1971, 1975, 1979 World Cup Champion—1978 World Silver Medalist—1979,

Bronze Medalist—1971 Olympic Silver Medalist—1976 Amateur Wrestling News

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

Coach—1981 Head Wrestling Coach—Univ. of Wise.

NAAU Champion—1977, 1978, 1979 (Most outstanding Wrestler—1977, 1980)

Pan American Bronze Medalist—1975 World Silver Medalist—1977 USA/AAU Elite Freestyle Coach—1980 USA/AAU Junior World Coach—1981 National Wrestling Coach—Canada

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 Champion—1975 World Cup Champion —1980 World Bronze Medalist—1973 Olympic Champion —1972,

Silver Medalist—1976 Head Wrestling Coach—Maranatha

Baptist Bible College

1978 National Champion of Romania European Medalist—1966, 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 techniques 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 competently.

The text of the book was typed accurately and efficiently 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 encouragement 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 encouragement 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 Championships. 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 acquisition 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 techniques selected for the syllabus, the text was finally organized and produced.

T he ideal wrestler would have a variety of physical 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 flexibility 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 characteristics would be embodied in specific wrestling techniques. Unfortunately, the wrestler hasn't been and probably never will be born with the combination 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 practical 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 unnecessary 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 changing situations. The proper technique gives a noticeable gain in speed because it allows for maximum rhythm of the working muscles. This maximum 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 complicated situations and goes after holds with no hesitation.

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

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 techniques. 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 complete 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 Commission 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 coming into contact with an excellent connoisseaur of the theory and practice of wrestling.

Stan Dziedzic has poured his knowledge and experience 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 instantaneously. 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 setup 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 technique, 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 footwork 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. Experience, 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 correspond 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 -progressively—the more advanced holds. When young wrestlers are left alone in wrestling, they frequently 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, position, 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 sequence 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 executing 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 image 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 understand 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 learning 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 technique, 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 tactics. 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 effectively. The element of surprise is effective only the first time.

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

wrestler to select at a given moment the most appropriate 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 automation, all stages in the performance of a given hold; this ability will enable you to make a quick assessment of a given situation and to take appropriate steps to remedy the problem. This skill is the most important feature of strategic thinking. The successful 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 only guarantee of success is the creative approach to the solution of a given problem—the 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 deception, and challenge. No definite sequence is imperative, 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. "Binding" also forces the opponent to concentrate his attention on breaking free from this control. This is

a favorable condition and can be used successfully 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 opponent 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 techniques and for solving tactical problems encountered during the match.

• Threats. Threats are deceptive movements pretending to aim at grabbing a certain part of the opponent'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 collar tie-up, and the defendant raises his head to pro-

20

tect it, his body and legs are left vulnerable to attack. 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 into thinking that the technique is easily foiled. The second attack must then be carried out using maximum 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 techniques 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 technique. 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 technique—technique. The first technique in this case produces favorable conditions for implementing the second.

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

• The third category can be described as technique—defense—technique or counter-technique. The first technique of this combination is conducted in full force, and if the opponent uses defense or counter-defense, the wrestler quickly switches to the technique which is the most rational in the given situation.

Past matches have attested to the fact that combinations 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 combination with a fake technique must be very attentive 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 opponent well, can almost always observe if the opponent 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 possible. 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 attacks—single 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 implementing 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 participation. This tactic requires endurance and will power.

Spurt tactics are separate attacks that use various swift-paced actions in the hope of creating conditions 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 opponent. 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 reaction, 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 counterattacks 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 tactical 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, distribution 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 during 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 determined 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 making 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 atmosphere 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 avoided in the next match.

The prematch state of the wrestler also has a profound 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 responses.

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 capabilities, each wrestler sets a goal of reaching a certain 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 particular action will be scored. Knowing one's opponents enables the wrestler to make a good tactical 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 depleting 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 tournament competition, tactics of performance in individual matches consist mainly of the wrestler using 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 learning 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 between the square and staggered stance is the position 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

26

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. Forearms 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 concept 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 orientation 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.

32

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 into 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. Important 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.

34

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.

36

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 .

38 THE TIE-UP AND BREAKING OF THE TIE-UP

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 opponent'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 takedown.


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.

43

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.

45

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 controlled 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 opponent down.

52

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 dropping 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 condition 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 important 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.

56

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, making him pull back.


3 • At this moment I drive in, making my opponent feel I am going 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 taking his opponent down, will need to master these techniques. In addition, in the international style of wrestling, a takedown is not awarded until your opponent's knee touches the mat; therefore, learning to break your opponent down from what is commonly 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.


3 • / now drop to my knees using the underside of my right arm to continue to place more of the weight on top of my opponent's leg.

4 • As soon as my opponent's legs begin to bend, I start to follow him to the mat.


S » My opponent hits his side. 6 • / continue to move around for the takedown.


8.2 • Ben Peterson executes a near leg trip.

1 • / am beginning to put pressure on my opponent's right leg by 2 • Here I begin to step in front to trip my opponent. It is impor-pressing my right arm down, forcing him to shift his weight on top tant that his weight is posted on the toot I am trapping, of his right foot.

66

3 • / now scoop my leg in front and begin to trip.

BREAKDOWNS FROM BEHIND

4 • / drive forward, forcing all my opponent's weight over top of the leg I am tripping.


5 • As we tall to the mat, I jerk my opponent underneath me. 6 • / coyer my opponent for the takedown.


8.3 • Ben Peterson shows how to

1 • From behind, I begin to lift my opponent.

rm a lift and sweep.

2 • Once I lift my opponent off the mat, my right knee comes up to the outside.

3 • As I bring my leg into my opponent's leg, I now begin to turn him with my arms, taking him over the top of my leg.


4 • As my opponent falls, I remove my leg so he lands on his side.

5 • / coyer my opponent for the takedown.


8.4 • Ben Peterson illustrates an excellent backheel.

1 • Here I lock my hands around my oppo- 2 » My left leg is deep between my oppo- 3 • With my opponent falling down, I begin ne/it's waist. Note that his feet are out in nent's legs as my right toot comes up to to turn in order to land on my hip and not my front, causing him to be oft balance toward block his heel. I must emphasize that at the butt. I also bring my left leg up between my the rear. same time I jerk his weight backwards. opponent's legs as I yank him backwards.


4 • 4s my opponent hits the mat my left leg continues to come up between his legs. This forces his weight forward even farther, preventing him from switching me.

5 • / cover my opponent for the takedown.


8.5 • Stan Dziedzic shows how to step in front and lift, a technique he used successfully against his Mongolian opponent in the 1977 World Championships.

1 • I have not gained a takedown because I 2 • I step in front of my opponent. Notice 3 • At this point, I thrust my hips in and up have not been able to break my opponent how I am turning my knee in as I drive my using the strength of my legs and the down to the mat. He remains in a standing toot all the way around and perpendicular momentum of my hips to lift my opponent position, and I am behind with my hands to my opponent. off the ground, locked.


4 • / now have my opponent completely in 5*1 step back and allow my opponent to 6 • / maintain control, the air. hit the mat.


8.6 • This opposite view of the previous technique better illustrates both the leg position and the power generated when the technique is executed properly.


8.7 • Stan Dziedzic demonstrates how to create the conditions to step in front and lift when your opponent is in a low stance.

1 • Often when my opponent is in a squatting or lower position, it is very difficult for me to step in front of him. Therefore, I set my technique up by pulling my opponent back, as shown here.

2 » My opponent reacts by straightening up to regain his balance so he doesn't fall to his butt.


3 • Now I begin to step in front. 4 • / am in front. Notice my foot is completely perpendicular to my opponent as I begin to lift.


5 • To generate maximum power, I thrust in my hips and straighten my legs.

6 • / step back, allowing my opponent to tall to the mat.


7 • / gain control.


8.8 • Stan Dziedzic illustrates, in these four photos, how to set your opponent to his butt when he has his weight low.

1 • / am beginning to shift my weight backwards, pulling on my opponent's hips. I must make certain my elbows are pressed tightly against his hips.

2 • / am dropping my weight down now, drawing my opponent downward and backward.


VÌVA4.

3 • As my opponent and I hit the mat, I must maintain my base. 4 • Here I am following my opponent for the takedown.


8.9 • Ben Peterson shows how to complete a takedown by lifting his opponent and jerking him backwards.

1 • My opponent is in a standing position attempting to break my grip, as I begin to lift him off the mat. I must be sure to keep my legs in tight.

2 • / thrust my hips into my opponent, forcing his legs upward. Simultaneously, I roll him up onto my chest.


3 • Now that my opponent's feet are out in front of him, I begin to pull him down by cupping under his armpits and yanking back.

4 • As soon as my opponent's butt hits the mat, I drop my weight on top of him.


5 • / attempt to hold my opponent on his back in order to gain a fall.

6 • / finish with a pin.


8.10 • Jim Humphrey executes a suplay from behind. Jim used this maneuver successfully against a Bulgarian opponent in winning his Silver Medal.

1 • With my opponent In a standing position, I start to pull him 2 * My pressure backwards forces my opponent to stand up to down from behind. maintain his balance.

^p

3 • As my opponent straightens up, I begin to step In front. Here I am shifting out to the side.


•M • 4 • / continue to move around, bringing my left leg completely in front of my opponent.


5 • Holding my opponent tight to my chest, I use my legs and hips to lift him clear oft the mat.

6 • With my opponent now well off the mat, I begin to fall backward and arch.


7 • lamina high arching position. My opponent is now going for a ride towards his back.

8 • As my opponent lands on his back, I continue my momentum, coming around behind.


»»»

9 • / come up to the top for the takedown.


8.11 • Stan Dziedzic executes the near ankle breakdown. Stan used this technique to score the tie breaking point against Ashuraliev, 2 time World Champion, in the Montreal Olympics.

1 • / am beginning to move behind my opponent. 2 • / have now dropped my hand down to my opponent's instep. Notice I am driving forward in order to shift my opponent's weight onto his hands.


3 • / am stepping inside my opponent's far leg. 4 • / am beginning to lift my leg to force my opponent down.


5 • / drive my opponent down for a takedown.


8.12 • Stan Dziedzic demonstrates how to scoop the near

1 • My opponent is resisting a takedown by maintaining the tripod position. I am now driving forward, forcing his weight onto his hands, while my right hand is cupped over his deltoid.

2 • ( scoop his leg out with my left leg. Concurrently, I slide my right hand in front of his bicep.


3 • By arching my back, chopping my opponent's arm, and pulling his leg up and back, I drive him to the mat.

4 • / now have the takedown.


8.13 • Ben Peterson shows how to perform a crotch lift when his opponent is in the tripod position.

1 • My opponent is resisting the takedown 2 • I shove my inside leg between my op- 3 • With my hands now locked, I drive all by remaining in a tripod position with his ponent's legs. This transition must be made my weight off my inside foot. Note my arms weight on his hands. quickly to prevent him from coming up. are wrapped tightly around my opponent's

leg and my side is pressed against his lower back.


4 • / continue to drive, which puts a great 5 • / am now lifting my opponent. deal of pressure on my opponent's lower back.

6 • I just continue through, jerking with my arms and turning my head away from him. This, of course, is worth two points in the international style of wrestling.


8.14 • Stan Dziedzic illustrates the "jam." This technique is utilized often in international competition.

1 • My opponent is resisting a takedown by maintaining the tripod position. In this figure I begin to step out to the side. Note I have my hands locked tightly around my opponent's chest.

2 » lam using my momentum to force both all my weight and all my opponent's onto his near arm.

3 • At this point I maintain my momentum, jerking my right elbow back into my opponent's hip and driving my left elbow forward into his shoulder to force him down to his knees.


4 • / must continue to stay square on my opponent to avoid being switched as the momentum carries us to the mat. Timing and use of momentum is the key to the success in employing this technique.


8.15 • Let's take a look at this same technique from a different angle. From this perspective you can imagine the force of my shoulder into the back of my opponent's shoulder.

»**>


8.16 • Stan Dziedzic pulls his opponent back to acquire a takedown.

1 • Since my opponent has distributed more of his weight to the rear and maintains a wider base, instead of jamming him forward, I am going to pull him backward. It is important that a wrestler is able to feel the shifting of his opponent's weight in this position.

2 • / move behind my opponent to generate torque.


3 • Using this torque, I drop to my knees, shifting my weight down and back. Note by holding my opponent's hips tightly, I pull him along with me.

4 • When my opponent hits the mat, I maintain an even position behind him. This position helps me counter any switches or rolls.


5 • / continue to pivot around for the takedown.

9 • Low SINGLE LEG

Lloyd Keaser, 1976 Olympic Silver Medalist, attempts a low single on his Bulgarian opponent.

A wrestler who is unable to execute a low single effectively restricts his scoring possibilities. He

is also more predictable than a wrestler who can perform the technique competently; consequently, an opponent will be able to thwart his attack more easily.

It is important, however, for a wrestler to be able to distinguish when he should go to his knees or stay on his feet when attempting a single. The illustrations in this chapter will assist a wrestler in making this differentiation.

104 LOW SINGLE LEG

9.1 • Stan Dziedzic demonstrates how to post your opponent's weight on his lead foot, penetrate to a low single, and drive to your feet.

1 • Leading with his right foot, my opponent has secured a 2 * In order to cause my opponent to post his weight on the lead double bicep tie-up. If I am able to post his weight on his lead foot, I drop my weight and pull down hard on his left arm. At the foot, I shall create ideal conditions for shooting a low single leg. same time, I step in with my left foot.


3 • Here I am in deep on a low single. I am careful not to overreach or extend myself beyond my base as I keep my head up and back straight.

4 • I step up with my right foot and drive into my opponent. I should emphasize I pull my right elbow tight to my side.

106 LOW SINGLE LEG

5 • / have secured the single and am ready to finish the takedown. (Chapter 11 illustrates numerous finishes from this position.)


9.2 • Dan Gable shows how to get past your opponent's arms, penetrate to a low single, and pivot to your feet

1 • My opponent is posting both arms on my shoulders while maintaining inside control. This creates the conditions for my single leg attack.

2 • / dip my shoulder to give me the proper angle tor attack. Notice I have lowered my stance, but I am not bending over as I step forward.

3 • ( continue into my opponent, dropping to my back knee and inside hand.

108 LOW SINGLE LEG

5 • Still moving around behind, my left hand is pulling my opponent's shin toward me. This posts his hip which prevents him from turning Into me.

4 • In this photo I have shifted my drive into my opponent. This Is very important. I can't hesitate In this position.

6 • Here my opponent has sprawled and dropped his weight on top of me. I want to point out that I am supporting his weight on my inside hand. I also continue to spin around my opponent, and my arm Is still tightly wrapped around his leg.


7 • / begin to come up, still driving into my opponent, forcing his weight to the far foot.

8 • As / continue to drive into my opponent, the weight is coming off his near foot allowing me to move around into position for my single leg.

9 • / am now up on my feet and have control of the single leg. (See Chapter 11 for finishes from this position.)

110 LOW SINGLE LEG

9.3 • Jim Humphrey executes a low single and spin behind.

a/L .12* ^ s :

fi£~

.

1 • We are both in open stances. 2 » My opponent reaches out to tie-up with me. This creates conditions that enable me to post his arm and penetrate for a single. This maneuver requires precise timing and sufficient speed.

3 • / am past my opponent's arm and approaching his leg. I must emphasize my back is straight with my head up. Since I am covering a long distance, it will be necessary for me to drive to my knees to maintain a good base.


4 • / have continued to drive to my knees and have been able to spin completely around my opponent. From this position I drive into his leg; this causes him to shift his weight to the far foot to maintain his balance.

5 • This shift of my opponent's weight enables me to continue my spin and pick up his leg with little effort.

112 LOW SINGLE LEG

6 • At this point my opponent has his weight on his hand and I am beginning to move up so I can capture his free leg.

7 • I have secured my opponent's free (far) leg and need only to move up for a takedown.


9.4 • Stan Dziedzic, in these eight pictures, lifts his opponent, grasps his wrist, and throws him to his back. This technique, although available, is often overlooked by both beginners and experienced wrestlers.

1 • / am beginning to penetrate for a low single leg. I am careful 2 » My opponent counters by pushing my head down, not to extend beyond my base as I step in deep with my head up and back straight.

114 LOW SINGLE LEG

3 • I react quickly, planting my right hand and ducking between his legs.

4 • Here I push myself up with my right hand as I begin to lift him.


5 • As / begin to straighten up, I have my opponent lifted off the mat.

6 • Now upright, I grasp my opponent's wrist which is around my waist.

116

fi

7 • / force my opponent to his back by throwing myself back while yanking his wrist across my abdomen.

LOW SINGLE LEG

8 • As my opponent lands on his back I control his wrist and drive on top of him.


9.5 • Stan Dziedzic finishes a low single by lifting his opponent and coming out the back door.

1 • Once / have my opponent lifted oft the mat, there are several techniques I can employ to finish the takedown.

2 » In this finish, I first straighten my body and grasp behind my opponent's knee with my right hand. Simultaneously I step up with my left foot.

118 LOW SINGLE LEG

3 • As I pivot around on my right knee, I pull my opponent's leg in tight. I also reach over his ankle with my left hand.

4 • Dropping to both knees I release my opponent's leg to reach for his hip.


5 • Having a hold of his hip I step up with my left toot. I should emphasize I am pinching his ankle between my thigh and side.

120 LOW SINGLE LEG

9.6 • In these photos Stan Dziedzic demonstrates another maneuver that can be used to finish a low single once you have your opponent lifted off the mat.

1 • In this finish, I first straighten my body and grasp and pull 2 • As I pivot around on my left knee, I continue to pull down on down on my opponent's knee with my left hand. I push up on his my opponent's right leg. I also continue to push with my right thigh with my right hand. hand, thus turning my opponent.


3 • Here my opponent has landed on his back. I will try to move up and acquire a pinning combination.

122 LOW SINGLE LEG

9.7 • Stan Dziedzic shows how to recover after your opponent has thwarted your initial attack

1 • Leading with his right foot, my opponent has secured an inside-outside tie-up. If I am able to post his weight on his lead toot, I shall create ideal conditions for shooting a low single leg.

2 * In order to post my opponent's weight on his lead toot, I drop my weight and pull down hard on his left arm.

3 • / begin to penetrate tor the single leg. I am careful not to overreach or extend myself beyond my base as I step in deep with my head up and back straight.


4 • My opponent counters by pulling his leg away and dropping his weight. This has moved me beyond my base and forced me into an awkward, unbalanced position.

5 • / am now in a vulnerable situation and, unless I react quickly, I will most certainly lose this takedown.

6 • At this point I release my grasp so I can push up with my right arm. At the same time I drive into him.

124

7 » In this picture my drive is more apparent as I step up with my right foot.

LOW SINGLE LEG

8 • My drive has taken the weight off both knees. Observe that my opponent's wrist is around my waist. This along with his body position creates the conditions tor the technique that follows.


9 • / grasp my opponent's wrist with my opposite (inside) hand and begin to slide my left knee under. This action will force his weight over the top of me.

10 • / continue to my knee, lifting my head and pulling down on my opponent's knee and wrist as it I were executing a wrist roll.

126 LOW SINGLE LEG

11 • I carry through with this action and my opponent is now off balance and falling to his side.

12 • Once my opponent hits the mat, I continue over the top of him and into his chest. I must not release his wrist, which I hold more securely by keeping my right arm tight against my body.


9.8 • Opposite side view of the previous technique.

128 LOW SINGLE LEG

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130 LOW SINGLE LEG

9.9 • Don Behm executes a low single into a duck under, a technique he completed many times en route to winning silver medals in two World and one Olympic games.

1 • My opponent has my wrists, but I have inside control on the far side.

2 * At this point I attack my opponent, making him feel as if he can counter the single leg because of his control of my wrist.


3 • / now pull the wrist, shifting my opponent's weight over the top of my shoulders. At the same time I am beginning to step up with my right toot.

4 • ( step up deep with my right toot while pulling the hand over the top of my head, raising my shoulders.

132 LOW SINGLE LEG

5 • / continue to my right knee, looking over my left shoulder and driving my opponent to the far side.

6 • Covering my opponent, I look for the fall.

1 0 • CREATING FAVORABLE CONDITIONS FOR THE SINGLE LEG

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T here are three parts in executing a takedown; creating favorable conditions (set up), attack,

and finish. This chapter shows four different conditions and the subsequent attack. The purpose is to isolate these segments of a single leg attack. Chapter 12 illustrates numerous other single leg setups and attacks together with their appropriate finish.

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Russ Hellickson about to arm drag his Bulgarian opponent in the 1976 Olympics.

134 CREATING FAVORABLE CONDITIONS FOR THE SINGLE LEG

10.1 • Stan Dziedzic executes an arm drag set-up for a single.

1 • As a ploy I rest my hand on my oppo- 2 » As soon as my opponent seizes my 3 • / break his balance here by jerking his nent's shoulder. He reacts and grasps my wrist, I pull my hand down in order to place arm and driving in with my body. Note my wrist. his arm in position for an arm drag. Notice I right hand is deep around my opponent's

rotate my palm down which turns my oppo- leg. nent's palm and thus exposes his arm. At the same time, I reach up to start the arm drag.


4 • I now have my opponent's leg secure. I 5 • I have my opponent's weight shifted to 6 • I have the single leg in the proper posi-should emphasize I haven't released my op- the far foot. I let go his arm and am about to tion and shall look for a favorable finish, ponent's arm. Until I get his weight shifted secure a tight hold on the single leg. to the far foot, I shall not release It. I am also starting my penetration and driving into him.


10.2 • Stan Dziedzic demonstrates how to secure a single when your opponent attempts to counter the 2 on 1 tie-up.

1 • / am controlling the two-on-one. 2 • My opponent reaches out to counter 3 • Capitalizing on these conditions, I the two-on-one by grabbing my elbow. This reach out with my left hand for my oppo-creates conditions for a single to the far nent's far leg. I make sure I keep my back leg. straight and head up while I step in with my

left foot and drive into my opponent.


4 • ) continue to drive into my opponent. Notice the position of my arms and that my back is still straight and my head up. As you can see from his position, my opponent's weight is shifting to the rear.

5 • ( now have secured the leg.


10.3 • Stan Dziedzic shows how to clear your opponent's collar tie-up and capture a single.

1 • My opponent has a collar tie-up with his elbow inside. This makes it very difficult tor me to come inside his arm. Instead, I begin to turn, putting pressure on my opponent's shoulder. Notice my left arm is inside, between my opponent's chest and my chest.

2 • I have been able to force my opponent to release his tight collar tie-up by pulling his wrist off my neck as I increased the pressure on his arm. Now with the 2 on 1 I draw my opponent's arm down in order to post the weight on his near toot.

3 • With my opponent's weight posted, I squat down, reaching my left arm around his near leg to secure the single leg. I must be sure not to let go of my opponent's wrist.


4 • Only after I've driven in deep, forcing my opponent to shift his weight to his tar leg, do I release his wrist and lock my hands on the single leg.

5 • / now have a single leg position and shall look tor the appropriate finish.


5 • Aided by the additional pressure of my hand driving across his neck, I continue to force into my opponent, scooping with my left leg back and down until it lands on the mat.

6 • / have control of the leg and shall look for my finish.

1 1 • FINISHES TO THE SINGLE LEG TAKEDOWN

T he most complicated phase of the single leg takedown is the finish. This chapter contains 19

finishes. Chapter 12 illustrates additional finishes as part of the complete technique.

A Japanese wrestler about to finish this single on his Soviet opponent.

144 FINISHES TO THE SINGLE LEG TAKEDOWN

11.1 • Stan Dziedzic finishes this single leg by capturing the far leg.

1 • / am in tight on a single leg. Notice my head is to the inside. 2 • / step with my left leg, turning my knee in while grabbing his My left leg is forward and turned in, my elbows are in, and I am far knee. I should emphasize that as I hook the far knee, my elbow pulling my opponent's leg tight to my abdomen. is in, thumb completely on the outside of the far leg, and left arm

is ready to post to catch my balance.


3 • Here I am continuing to pull my opponent's leg tight to my chest. My far arm is out for a brace.

4 • My far arm brace maintains my balance so my opponent is unable to pull me up or elevate me over.


11.2 • Stan Dziedzic shows how to block in front of the far leg.

1 • / have my opponent's leg pinched be- 2 • If my opponent's leg Is within reaching 3 • / am stepping over my opponent's leg, tween my thighs. My outside hand is over distance, I start to reach down with my In- putting it to the outside. At the same time I the top of my inside hand, and my back Is side hand to the Instep while my other arm shift the arm blocking my opponent's far straight. Notice my elbows are In while my drops to block his far leg. leg to his near knee In order to yank it up-neck is bulled and shoulders are shrugged. ward.


4 • Now I have my opponent's leg tightly controlled. It is important that my arm is wrapped deeply around the leg and I do not grab the heel with my hand. This precludes my opponent from breaking my grip and kicking free.

5 » As my opponent straightens up to maintain his balance, I reach up with my left arm for an underhook.


6 • ' now pull back on the underhook and block my opponent's far leg so he loses his balance.

7 » My opponent is losing balance and falling down.


11.3 • Stan Dziedzic executing what is sometimes referred to as "running the pipe."

1 • My opponent has an overhook, and his leg is between my 2 • I create momentum by stepping with my right toot toward the legs. center, as I begin to pull away counterclockwise.


3 • / draw my opponent's leg between my legs; at the same time I step back with my left foot.

4 • Now that my opponent is on the mat, I shall move up for the takedown. I should emphasize I have not yet gone down to my knees; instead I am squatting. This maneuver prevents him from pulling me forward.

5 • / go down to my knees to complete my takedown only after my opponent is down on the mat. This foils his counters.


11.4 • Stan Dziedzic demonstrates how to run the pipe when your opponent has his leg to the outside.

1 • My opponent has an overhook, and his captured leg blocks my thigh.

2 • f create momentum by stepping toward the center.


3 • / am now drawing my opponent's leg tight between my legs; at the same time I am kicking my leg deep in back to break the control he has with his outside leg.

4 • Now that my opponent is on the mat, I shall move up for the takedown. Notice I have not yet gone down to my knees.


5 • / now go down to my knees to complete my takedown only after my opponent is down on the mat. This foils my opponent's counters.


11 .5 • Russ Hellickson shows how to change your direction and force your opponent to his hands. Russ used this technique against several of his opponents en route to winning a silver medal in the 1976 Olympic games.

1 • With the single leg secured, I begin to 2 » He counters this motion by turning 3 • As I step over my opponent's leg, I jolt move in a circular direction away from my (opening) his hips and bringing his tree leg him forward by thrusting my shoulder into opponent. in closer to me. This creates the conditions the back of his knee. As I initiate this ac

tor the following maneuver. tion, I shift my inside hand down to his ankle.


4 • / now move over the top of my opponent's leg as he falls off balance. At the same time my inside hand slides down to his instep.

5 • With my right hand on his hip, I kick my opponent's support leg out, forcing him to his knees.

6 » To finish, I drop down on top of my opponent, pressuring him to the mat.


1 1 . 6 * Stan Dziedzic completes the single leg by scooping his opponent's far leg. Soslan Andiev, 5 times Gold Medalist from the USSR, often utilized this finish.

1 • / have a single leg tackle, but my oppo- 2 • Because my opponent does not have 3 • / now hook my right leg above or at my nent is countering me by keeping his leg to an overhook, I am able to jerk up hard and opponent's knee, as I lift up. At the same the outside. quickly, straightening my body. time I drive into my opponent.


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4 • / draw my opponent's leg in as / drive him toward his back. 5 » My opponent lies on his back. I move up, looking for the pin.


1 1 . 7 * Dan Gable demonstrates a slightly different variation of the previous finish.

1 • I have a single leg secured. 2 • I step back with my left leg to give me 3 • Now I lift my opponent's leg high and space to lift my opponent's leg to the out- to the outside. It Is Important to note I also side. have his tar wrist.


A * lam beginning to step in deep to scoop my opponent's far leg for the turn.

5 • / now have the leg pulled in and drive into my opponent, trying to drop him on his back.

6 • I have pulled my opponent's far wrist in and have lifted his leg higher, trying to rotate him to his back.


7 » My opponent falls to his back, and I move up to secure the fall.


11 .8 • Dan Gable, instead of scooping, also blocks his opponent's front foot from this position. I'm certain many of his opponents remember how well Dan used this technique.

1 • Here I have my opponent in a single leg with his left foot resting on my right thigh.

2 • / yank up behind his knee, bringing his leg Into my armpit. At the same time I bring my right leg up keeping his foot to the outside.

3 • / am pulling his knee tight to my chest and am twisting as I pull my opponent off balance.


4 • In this photo I am blocking my opponent's right foot with the arch of my left foot, breaking his balance.

5 • / have my opponent's ankle held tightly and his weight is on his hands. I need only to move up for the takedown.


11.9 • Russ Hellickson shows how to maneuver your opponent's leg to the inside and finish for the takedown.

1 • Here I have my opponent in a single leg with my hips close and his knee pulled tight to my chest.

2 • ( thrust my hips forward, forcing my opponent's foot to the outside.

3 • / wrap my arm deep around my opponent's ankle. Notice I am keeping my elbow tight to my chest and am moving as I pull my opponent off balance.


4 • Now I am beginning to raise my right hand toward the hand pushing against my shoulder.

5 • / am moving upward on my opponent's leg.

6 • / move back in toward my opponent, pushing his hand off my shoulder, thus forcing him off balance forward.


7 • I now step up with my left foot, blocking my opponent's left leg to prevent him from stepping and maintaining his balance.

8 • / continue for the takedown.

166

11 .10 • Stan Dziedzic performs what

1 • My opponent is bending his leg up so I am unable to pinch it between my knees and control the bottom part of his leg. This counters a variety of finishes but opens my opponent for this finish, called the heave-ho.

is commonly called a Heave-Ho.

2 • / start to move away and step back with my left leg.

FINISHES TO THE SINGLE LEG TAKEDOWN

3 • Having taken a deep step with my left leg, I begin to bring my opponent's leg down.


4 • ( am continuing to move away while yanking my opponent's leg upward.

5 • / am still lifting my opponent's leg as high as possible.


• 6 * My opponent is now down on his hands, and all his weight is going forward. I am beginning to look for my takedown.

7 • Here I am about to cover my opponent for the takedown.

8 • / secure the takedown.


11 .11 • In these six photos Dan Gable clears his opponent's leg to the outside and finishes the single by grasping his far leg.

1 * In this photo, I have the single leg secured.

2 • / step back with my left leg to create space to pull his left leg to the outside. I also drop my left hand down to the inside of my opponent's ankle.

3 • Notice my opponent's leg is bent. I am now stepping in, driving toward the far leg while reaching out to catch my opponent's leg at the knee.


4 • / now have my opponent off balance and have secured his far leg.

5 • ( continue to drive in and try to pull the leg out. Observe the grip on the inside ankle.

6 • / now have my takedown and will look to move up for back points.


11 .12 • Instead of grasping the far leg, Dan demonstrates a different finish from the same starting position

1 • / now have the leg secured. 2 • ( drop back with my left leg to create room to pull my opponent's leg to the outside. I am also reaching down with my left hand to grasp the Inside ankle.

3 • Now controlling the ankle, I drive into my opponent, twisting his leg as I pull down on the knee. Simultaneously I shift to the outside and lift up on his ankle.


4 • / continue to turn, both to put pressure on my opponent's leg and to force him to the mat.

5 • / continue to rotate. 6 • / keep turning as I pull on the knee.


7 • / have pressure on my opponent's knee causing him to fall forward.

8 • Since my opponent's weight is on his hands, I will move up to acquire my takedown.

1 • / am trying to resist as my opponent counters by pushing my head down.

2 • My opponent has driven my head down so forcefully I am no longer able to resist. Instead, I duck under my opponent's leg.

3 • / drop down to my right knee, duck under my opponent, planting my right hand, while trying to lift my opponent off the mat.


4 • / now have lifted my opponent off the mat. I am reaching for his other leg because my body is slightly turned in that direction.

5 • / pivot, trying to come out behind my opponent's leg.


6 • / am now behind my opponent's leg, attempting to secure it tight to my chest so he can't kick away.

7 • I am now moving up for my takedown.


8 • / have secured my takedown, keeping the leg up and looking for a possible turning situation.


11 .14 • Dan Gable shows how to duck under your opponent's leg in a slightly different situation.

1 • At this point I turn my shoulder and arm into my opponent to make him straighten his leg.

2 » My opponent is now straightening his leg. I release my grip and begin to look for the duck under.

m 3 • I am now ducking under my opponent's leg, dropping down to my knees.


4 • I am now on my knee and beginning to 5 • As / lift the leg, I start to turn toward it. raise up.

6 • Continuing to lift and rotate into my opponent, I now grab his far leg. I should emphasize I am rising up forcefully.

180

7 • While still turning on his leg, I begin to move up.


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8 • Having completed my turn, the takedown is mine.


11 .15 • Stan Dziedzic shows how to finish a single leg when your opponent is controlling the wrist.

1 • My opponent Is trying to break my secure hold on his leg by working on my inside wrist.

2 • / break my opponent's control of my wrist with my opposite or free wrist.

3 • After I break his control, I step away and over my opponent's leg with my right leg, reaching down with my Inside hand to secure his ankle.


4 • / now have his ankle and am pulling it up beyond the outside of my hip.

5 • ( raise my right leg up, holding the knee tight to my hip, a maneuver which gives me a more secure hold of my opponent's leg.

6 • / now move away, drawing back on my opponent's shoulder while blocking his far leg.


7 » My opponent loses his balance and is falling. I am looking to complete the takedown.

8 • / moire up, keeping control of the ankle, on the alert for a turn.


11 .16 • Stan Dziedzic demonstrates how to finish the single leg when you have the leg to the inside.

1 • / have my opponent's leg tightly con- 2 • Since I am unable to acquire an 3 • I continue to drive my opponent off trolled. Notice my right arm wrapped deeply underhook, I drive off my right foot and balance, around the leg and I do not grab the heel push my opponent forward, with my hand. This precludes my opponent from breaking my grip and kicking free.


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• I 4 • Now that my opponent's weight Is on his hands, I move to the lar side.

5 • As ( shift to the tar side to gain control, I maintain my grip on the Instep.

6 • Keeping the same grip on the instep, I move up high, always alert for some kind of counter.


11 .17 • In this series of photos Stan Dziedzic illustrates another option when you have your opponent's leg to the inside.

1 • / have my opponent's leg to the outside and high. Generally, 2 • / begin to raise my opponent's ankle and leg up by pulling up this is the easiest position to finish the single leg. My opponent, with my right hand. At the same time, I begin to duck under my op-however, is keeping me low on his ankle, making it more difficult ponent. for me to finish. This is a rare occurrence. I am usually able to finish this takedown in a more conventional manner.


3 • My head and shoulder are now under 4 • I now come into my opponent, trying to 5 • / have control of my opponent's body my opponent's leg. Notice I am still holding control his body. The tighter I am to my op- and I am reaching for his far shoulders so I his leg, my back is straight and I have dip- ponent, the easier it will be to control him. can take him to his back as he falls. It is imped my weight down low. portant to lift with all my power in this posi

tion.


6 • / have my opponent completely off the ground. My only concern is that I set my opponent down to his back, maintain control and do not slam him.

7 • / now continue for control to get the takedown and hold my opponent tor the fall.


11 .18 • Gene Davis shows a variation of the previous technique.

1 • In this position I have my opponent's leg to the tar inside and up high. I prefer to have the leg on this side of my body if at all possible. My opponent, however, is keeping me low on his leg.

2 • / duck under my opponent's leg and begin to come up.

3 • / continue to come up, staying tight to my opponent while trying to control his hips.

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4 • / now have my opponent's hips under 5 • / have lifted my opponent, control and begin my lift.


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6 • ( turn my opponent so he will be on his back when I set him down.


7 • / am now letting my opponent down to his back.

8 • / continue down toward the mat. 9 • He is now on his back, and I am looking to control him for the fall.


11.19 • Gene Davis finishes this takedown by putting pressure on his opponent's knee

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1 • / have my opponent's leg to the inside and up in the air. I can take him down from this position very easily.

2 • I have my opponent's foot on top of my shoulder and am beginning to move up on the leg.


3 • I am now high on the leg. My shoulder is behind my opponent's calf, while my hands are above his knee on his thigh.

4 • / start to move away and circle to my left, putting pressure down on my opponent's thigh.


5 • As I continue to move away, my opponent is beginning to fall to his back.

6 • / continue to keep the pressure down on the thigh and up on his calf with my shoulder while holding my opponent to be sure he will land on his back.

1 2 • SINGLE LEG IN ITS ENTIRETY:

CREATING FAVORABLE CONDITIONS, ATTACKING AND FINISHING

Tediashivilli, 1976 Olympic champion, controls the leg of 1972 Olympic champion Ben Peterson in the 1973 World Cup.

S ixteen complete single leg takedowns are illustrated here, indicating the favorable conditions,

attack, and finish. These are not meant to exhaust the combinations. There are hundreds of different possibilities.

Those illustrated will, however, show how to perform the single leg takedown properly.

12.1 • Stan Dziedzic uses an arm

1 • My opponent has created the conditions illustrated here by grabbing the hand I've placed on his shoulder.

to acquire the single leg and a far

2 • Taking advantage of these conditions, I pull my opponent's arm down and drag.

SINGLE LEG IN ITS ENTIRETY

knee block to finish it.

3 • / continue to hold my opponent's arm as I lower my level and step in with my outside foot for a single leg.


A * To secure the single leg, I keep driving forward, and lower my level even more.

5 • / maintain my momentum, driving into my opponent to force his weight onto his far foot. This allows me to pick up the single leg easily.

6 • Now I am beginning to move behind my opponent; at the same time I drop my shoulder, block his far leg above his knee, and drive him forward.

198 SINGLE LEG IN ITS ENTIRETY

7 • / move further behind my opponent. Although it is difficult to see, my left hand has slid down to his ankle.

& » My opponent falls; I cover for the takedown.


12.2 • In these six pictures Stan Dziedzic employs the same finish used in the previous section 12.1, but secures the single by using his inside-bicep tie-up.

1 • / have an inside control tie-up. 2 • In order to take advantage of these 3 • / now have a single secured with my conditions, I yank my right arm back. This head in my opponent's ribs. I must em-breaks my opponent's balance. Simulta- phasize I am pulling my elbows in, shrug-neously, I hook his calf with my left hand. I ging my shoulder, and keeping my back must make certain, when I lower my weight, straight. I keep my back straight and head up.


4 • / drop my right shoulder behind my opponent's near thigh and block his far leg, above his knee, with my right hand. I also slide my left hand down to his shin while I begin to move behind.

5 • Now that I've broken my opponent's balance, I continue to move behind him and slide my left hand down to his ankle.

6 • When my opponent falls forward, I am ready to cover for my takedown.


12.3 • This is the opposite side view of the previous technique.


12.4 • Stan Dziedzic again utilizes the arm drag to secure the leg but finishes by blocking the far foot.

1 • My opponent creates the conditions 2 • / quickly pull my hand downward. 3 • ( take my arm drag. It is important that for an arm drag-single leg combination by Notice my opponent is still grasping my the arm is tight to my neck, my head is to grabbing my wrist. wrist. the inside, and my outside arm is free to

reach for my opponent's leg.


4 • With my free hand, I take his leg. At the same time I drive into him.

5 • / continue to drive as I begin to step forward with my left leg. I must be certain to pull my opponent's leg between my legs.

6 • / have my opponent's far leg blocked with my left foot, his weight is beyond his base, and he is beginning to fall.


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7 » My opponent is breaking his fall as I move up to maintain control.

8 • / now cover for the takedown.


12.5 • This is the opposite side view of the previous technique.


12.6 • Russ Hellickson fakes an arm drag to obtain his opponent's leg, pinches the near leg and grasps the far leg to finish the single leg.

1 • / grab my opponent's wrist to fake an 2 » My opponent pulls his arm back, open- 3 • / continue to step In deeper, bringing arm drag. ing himself up for a single leg, so I step in. It my back (or drive) foot forward. As I

is important that I am lowering my level as I penetrate, I pull my opponent's leg In. reach out. My back is straight, and my weight is over the top of my base rather than extended beyond It.


4 • Now that I have my opponent's leg secured, I begin to move away, forcing him to bring h/s free leg closer and to rotate his hips.

209

5 • As my opponent completes the rotation of his hips, I shift my direction, driving my chest Into him. I must emphasize that I keep my knees together. By keeping my knees together I prevent my opponent's leg from going down to the mat.


6 • / continue to drive as I drop to my knees and pull my opponent's leg in tighter. Notice I am keeping my elbows in to give me added strength tor holding his leg.

7 • / maintain my momentum, landing on top of my opponent.


12.7 • From the underhook tie-up Russ Hellickson shows how to drop to a single and finish by capturing his opponent's far leg.

1 • My opponent reacts to my underhook by leaning his weight 2 » To take advantage of this position, I lower my weight and over top of my arm. step in to capture my opponent's leg. I must be sure not to lean

over and lose my balance.

212

3 • ( bring my underhook arm down to secure the single leg.


4 • / now begin to move in a circular motion away from my opponent. Again notice the correct position of my back, arms, and legs.


5 * To maintain his balance, my opponent brings his tar leg in closer to me.

6 » To capitalize on this situation I thrust my body into his leg. At the same time I grab my opponent's far leg with my front hand.


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7 • / continue my momentum forward as I drive my opponent to the mat.

8 • / move up for the takedown.


12.8 • Again Russ Hellickson drops to a single from an underhook tie-up, but this time finishes differently.

1 • / lift up with my underhook causing my opponent to pull back and to post his weight on his near leg.

2 • As / reach for the single leg, I lower my level by dropping my hips, at the same time keeping my back straight and head up.

3 • My opponent begins to counter the single leg by forcing his weight on top of my head.


4 • / lift up with my underhook causing my opponent to pull back and to post his weight on his near leg.

5 • ( continue to drive Into my opponent. A key point in this technique is to pull his leg in tight, as I am doing here.

6 • / keep driving for the takedown.


12.9 • From the underhook tie-up Dan Gable demonstrates how to seize the single leg and finish by running the pipe.

1 • / have an underhook. My opponent's weight is forward and shitted to his far foot which creates a condition to set him up for a single leg.

2 • As I step back with my right foot, I also drive in and force my opponent's shoulder upward. Notice my left hand is reaching down to secure the leg.

3 • / continue to drive in, lifting his shoulder with my underhook as I pick up his near leg.


4 • / now have my opponent's leg off the ground and am ready to move to the proper single leg position.

5 • I have the single leg position I desire. 6 • My opponent's weight is shifted back. This creates the condition for "running the pipe."


7 • I step inside with my left foot and begin to drop my weight down and away.

8 • I continue to pull my opponent's leg, forcing him to lose his balance. It is important that I do not go down to my knees.

9 • My opponent has hit the mat. I shall now look to move up and secure my takedown. Note I did not go down on my knees with my opponent, but instead stayed on my feet to stabilize my position.


12.10 • Gene Davis fakes an arm drag to capture his opponent's leg and runs the pipe to finish it. Gene's Mongolian opponent in the 1976 Olympics should remember this technique.

1 • / have my opponent's wrist, and I'm beginning to feint an arm 2 • My opponent has reacted to this fake by yanking his right drag. arm and right leg back. I am now moving to attack his left leg.


3 • I am deep on the leg, and continue this momentum by driving 4 • I snatch my opponent's leg up between my legs, into my opponent.


5 • / begin to circle back and to my left. 6 » My opponent's free leg is beyond my reach. Therefore, I step to the center, forcing him to step back.


7 • / continue this action, dropping my opponent to his butt. 8 • This force carries my opponent to his back. I must emphasize that I am squatting. This prevents him from pulling me over.


12.11 • Russ Hellickson shows how to clear the collar tie-up, attack for a single, and run the pipe. Russ's opponents feared this technique the most.

1 • My opponent has a collar tie-up. I am 2 • I am now turning and pulling oft my op- 3 • Having cleared my opponent's tie-up, I reaching up to secure the 2 on 1 in order to ponent's collar tie-up. At this same time I force his arm across in front of his body, break his control. take a small step backwards with my right This action shifts his weight onto his tar

foot in preparation for my attack. foot. Simultaneously, I lower my level and begin my penetration step.


4 • With my opponent's weight shifted to 5 • I now have taken a single leg and begin 6 • / continue to step back in a circular his far foot, It is easy to reach out and pull to step away with it in a circular motion. motion clockwise, his leg in. As usual, It Is important for me to keep my back straight and head up.


7 • Although my opponent is keeping his & » As my opponent falls I make certain I 9 • Although my opponent is on the mat, I far leg beyond my reach, by doing so he do not go to my knees; rather I maintain my am still on my feet holding his leg. At this makes himself vulnerable to my next tech- position by squatting lower and bringing my point, I will bounce on him to acquire a nique. I must emphasize I am not swinging right leg around. takedown, my opponent around; nor am I thrusting my chest down; instead I am pulling his leg between my legs as I squat.


12.12 • In these nine photos Russ Hellickson demonstrates flawlessly how to acquire the single leg when your opponent has a shoulder tie-up and the subsequent finish.

1 • / am now hitting my opponent's arm 2 • / step in deeply. Notice the position of 3 • / now start to pull my opponent's leg upward, opening the way for my single leg my back, head, and legs. My weight is low, back and circle clockwise, attack. As I post his arm, I am also begin- back straight, head up, and legs are bent, ning to step in tor my single.


4 • / continue to circle and step as I pull my opponent's knee tightly to my chest.

5 • Thrusting my hips forward, lifting my opponent's knee, and rotating outward, I expose his lower leg.

6 • I now slide lower on my opponent's leg. I should emphasize my elbow and arm are tight around the leg to prevent my opponent from peeling my wrist or kicking free. I am also beginning to raise my right hand to cover the knee.


7 • / now step backwards In a circular direction away from my opponent. This means I step to the Inside and front with my Inside foot as I step back with my outside foot; since this motion Is a key point of many variations of the single leg, It should be understood well.

8 • I continue to move and to squat. Notice I am not bending at the waist but rather lowering my level, squatting down with my hips and bending my legs.

9 • f cover for the takedown.


12.13 • Russ Hellickson shows how to employ the 2 on 1 tie-up to obtain the single leg and how to use your inside arm to assist in taking your opponent down.

1 • / have my opponent in the tie-up. Here I 2 • As soon as my opponent's weight is 3 • / now have control of the single leg and pull down on his arm, causing him to resist posted on his near leg, I step in for my am beginning to move in a circular motion, and post his weight on his near foot. single. Notice my position: my back is

straight, my head is up, and I lower my weight.


4 • As I continue to move in a circular direction away from my opponent, I rise up while maintaining my stable position with my head up and back straight.

5 • Since my opponent has turned his hips in and is off balance towards the rear, I reach up for his neck, being careful to keep my elbows in.


6 • While my opponent falls, I lower my level by squatting down. 7 • My opponent hits the mat and I stay on my feet, ready to Although the bend In my knees Increases, I continue to keep my cover for the takedown, back straight and head up.


12.14 • Russ Hellickson uses the inside bicep tie-up to secure his opponent's leg and the Heave-Ho to finish for the takedown.

1 • / raise my elbow out to the side, open- 2 • Notice my position as I penetrate for 3 • I move In a circular direction away from ing the way tor my single leg. my single leg. My hips are low, legs bent, my opponent, pulling him off balance.

back straight, and my head Is up.


4 • / now stop my momentum, step back 5 • I begin to pull with both arms as I reach 6 • / continue to pull until my opponent with my outside leg, and lift my opponent with my left leg to his far foot. hits the mat and I acquire a takedown, up. Timing is very important in this maneuver.


12.15 • Russ Hellickson knocks his opponent's arm off his shoulder, captures the leg, and finishes the takedown with a variation of the Heave-Ho.

1 • Controlling the inside with my tie-up, I 2 • / release my tie-up and step in while 3 • / continue to penetrate as I maintain have created the condition for a single. It is reaching for my opponent's leg. my center of gravity over the top of my important to react quickly. base. Notice I do not extend beyond this

base; I simply have lowered my level and have driven my body and legs forward.


4 • / now begin to move in a circular direction away from my opponent.

5 • f step back with my right foot to clear the way for my opponent's leg.

6 • ( left my opponent's leg high. At the same time I reach with my left hand to pull in his tar leg.


7 • Using the momentum I have created by moving away and lifting my opponent's leg, I now lift him off the mat as I drive my weight forward.

8 • / finish for the takedown.


12.16 • Russ Hellickson yanks his opponent's wrist in order to post his opponent's weight, attacks for a single, and trips the far leg for the finish.

1 • ( am creating the conditions for a single leg by faking an arm drag. This feint causes my opponent to pull his arm back and post his weight.

2 • / step in for the single leg. 3 • Notice my position. My back is straight and knees are bent to lower my center of gravity; consequently, I do not lean off balance while reaching for the leg.


4 • As / pull my opponent's leg to my chest, I move in a circular direction away from him.

5 • As / begin to change the direction of my attack back into my opponent, I lift his leg to the outside of my body. I must be sure to use both the power of my rear leg and the driving force of my motion as / step, bending at the knees while keeping my back straight.

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6 • / continue my drive, tripping my opponent's far leg. It is important not to let go of the leg and continue to pull it as high as possible to the outside.

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7 • / maintain my drive, grabbing my opponent's leg while keeping my arm tight to my chest.


8 • / continue tor the takedown.

Stan Dziedzic, Author

Contributing Technicians: Ion Baciu Don Behm

Gene Davis Dan Gable

Russ Hellickson Jim Humphrey Ben Peterson Ed Yarovinsky

IONTENT

ig Wrestli Strategy Tactics by Ed Yarovinsky Stance Motion Breaking Opponent's Balance The Tie-Up and Breaking of the Tie-Up Breakdowns from Behind Low Single Leg Creating Favorable Conditions for the Single Leg Finishes to the Single Leg Takedown Single Leg In Its Entirety: Creating Favorable Conditions, Attacking and Finishing.

wrestling syllabus - programaciÓn de entrenamiento para lucha olÍmpica

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