Professional Documents
Culture Documents
(Uilliah H. Hortell
(Uilliah H. Hortell
HORTELL
GflECO-flONHN
UIHESTUHG
William A. Martell, MS
Diablo Valley College
Pleasant Hill, CA
ISBN: 0-87322-408-6
All rights reserved. Except for use in a review, the reproduction or utilization of this work in any form or by any
electronic, mechanical, or other means, now known or hereafter invented, including xerography, photocopying,
and recording, and in any information storage and retrieval system, is forbidden without the written permission
of the publisher.
Arm Drag 46
Over-Under Tie-Up 46
Using Your Opponent's Position 48
Glossary 157
Index 161
About the Author
«*
Bill Martell has experienced success at every He actively coaches wrestling at Diablo Valley
level of coaching. He guided junior wrestlers to Community College and the Concord Wrestling
national and world championships and high Club.
school wrestlers in Oregon and California to Bill Martell also has directed youth and Olym-
state championships. His 13 years as a member pic training camps and has led coaching accredi-
of the United States national coaching staff pro- tation programs at the national and local levels.
vided him the opportunity to coach national, He has served as president of the National Col-
world, Pan American, and Olympic champions. legiate Athletic Association coaches' association
During his tenure at the University of and chairman of the National Greco-Roman
California-Berkeley, Bill Martell served for 27 Sports Committee. He is also chairman of USA
years as supervisor of physical education and Wrestling's development committee and a mem-
15 years as wrestling coach. He was also a team ber of its executive committee and board of
leader and assistant coach of the 1992 United directors.
States Olympic Greco-Roman wrestling team.
VII
Preface
Greco-Roman Wrestling will not only create more I have prepared tried and true techniques for
experts in this unique wrestling style, but also you to use in your coaching or wrestling develop-
will allow folkstyle and freestyle competitors and ment, and more than 550 photographs illustrate
coaches to enjoy their sport more as their knowl- these points. The techniques in Greco-Roman
edge increases. Greco-Roman wrestling offers Wrestling are the actual scoring moves used at
additional techniques to the freestyle or folkstyle the Olympic Games. Some techniques will seem
wrestler, and any serious student of wrestling to naturally fit your style better than others. Start
should explore the Greco-Roman refinements. with these. If you are constantly aware of sound
Folkstyle wrestling, on the other hand, adds position, and you understand how and why a
an aggressive element to Greco-Roman compe- move works, your execution and application of
tition that is changing the complexion of the the technique also will be sound. Remember, it
international sport. In the 1984 and 1988 Olym- takes years of training to excel in wrestling. Be
piads, for example, the United States Greco- patient. Don't give up if a particular move
Roman team blended the upper body Olympic- doesn't work the first time, or the second, or the
style techniques with their traditional style; they third. Wrestling takes years to master.
earned both medals, and, for the first time, in- The first step in becoming a complete wres-
ternational respect for their efforts. The unique tler is learning the basics of the sport. The first
style of the U.S. team is rooted itself in the ag- three chapters of the book provide this back-
gressiveness of freestyle and folkstyle techniques ground. In chapter 1, you'll learn how the moves
as taught by American high schools and colleges. and techniques common to Greco-Roman wres-
This book recognizes these accomplishments tling can be used in other styles of wrestling.
and encourages continued growth. You'll learn in chapter 2 the fundamentals of
Every coach and wrestler, no matter what your Greco-Roman wrestling that can be used to
style preference, can use the skills I present in strengthen your performance as a freestyle or
Greco-Roman Wrestling to expand and develop folkstyle wrestler. In chapter 3 you'll learn how
your understanding of wrestling. Your experi- to attack your opponent and discover ways to
ence and level of expertise will determine how select effective counterattacks that can put you
and when you apply this expanded knowledge. back into control of a match.
IX
x Preface
The techniques that you should develop first in their quest to reach the Olympic Games.
appear in chapters 4 through 6. All attacks to Sample workouts appear for 7-day intervals,
the body are in chapter 4, arm attacks are found both during the developmental phase of the year
in chapter 5, and a discussion of attacks to the and leading up to a competition, and for 9-day,
head and arm follows in chapter 6. 5-month, and 1-year periods. A special 4-year
Chapter 7 on par terre wrestling, or wrestling calendar outlines the road to making it to the
on the mat, helps you bring together all you've Olympics.
learned and prepares you for actual Greco- The skills you'll learn by combining Greco-
Roman competition. You'll learn how to read Roman techniques with those used in folkstyle
your opponent's moves and discover when tech- and freestyle will help you achieve your highest
niques such as the gut wrench and the reverse goals, whether you're pursuing a gold medal or
lift will lead you to a score. You'll also find out a championship in your weight class. Use the
how to counter those moves and turn them into sound wrestling techniques you have learned
scoring opportunities. and weave them with the upper body tech-
To complement your skills, you'll need an niques presented in Greco-Roman Wrestling to de-
effective training program. Chapter 8 outlines velop a more complete style of wrestling. The
the components of a quality program, from broader your frame of reference, the wider your
warm-up and flexibility to practicing techniques, field of understanding becomes. By knowing the
cross-training, and cool down. I've also includ- broadest scope of wrestling, you can be able to
ed sample workout calendars that have been select the specific path you want to follow.
used to train some of America's best wrestlers
Acknowledgment
I'd like to gratefully acknowledge the coaches
and athletes who taught me wrestling and al-
lowed me to teach them wrestling.
CHAPTER 1
O
When they hear the term "Greco-Roman wres-
tling," most freestyle and folkstyle wrestlers and
coaches picture a wrestler being lifted from the
mat and thrown backward onto his head. Most
people don't consider this a pleasant experience,
Because Greco-Roman is limited to upper body
attacks, the refinement of technique is much
greater than in folkstyle and freestyle wrestling.
By applying the techniques used in Greco-
Roman wrestling to these other styles, however,
so it is understandable that they may be reluc- wrestlers using any style can improve their abili-
tant to learn this international style of wrestling. ties and refine their skills.
Greco-Roman refers to one of the two styles
of wrestling used in the Olympic Games and is
known in Europe as the "classic" style of wres-
tling. It is a throwing sport that employs upper Greco-Roman Wrestling
body locks. Very simply, it is upper body wres- in the United States
tling; attacks to an opponent's head, trunk, and
arms are fundamental. It differs from freestyle When the U.S. fielded its first Greco-Roman
(the other Olympic style of wrestling) in that it Olympic wrestling team in 1952, about the only
does not allow the use of the legs in holds nor requirement for participation was showing up.
the application of any holds below the waist. By Not until 1968 did the U.S. win a place at an
the same token it differs from American folkstyle international championship, taking fourth at the
wrestling, which has traditionally focused on at- World Championships. The predominant regions
tacks that occur from the waist down. producing Greco-Roman wrestlers in the U.S.
1
2 Greco-Roman Wrestling
have changed little since 1968. New York, Michi- man's main concerns then becomes controlling
gan, Minnesota, and California provide most of his opponent and keeping him on the mat in an
our Greco-Roman wrestlers because most coaches inferior wrestling position. The man in the ad-
experienced in Greco-Roman have established vantage position now becomes a defender in that
clubs in these states. The number of youth wres- he must do things to counter his opponent's es-
tlers participating in Greco-Roman at the nation- cape threat. The rules recognize this situation
al junior championships has increased to about by allowing a wrestler to gain a point for hold-
500 annually. The number of participants in the ing his opponent on the mat for a minute more
senior national championships has remained the than the opponent holds him down.
same or decreased slightly over the past years. Because a wrestler can win a match by escap-
The senior tournament usually fields between ing, riding, or both, these two endeavors enter
150 and 180 entries. The quality of our senior the category of wrestling tactics. As a result,
wrestlers has improved, but the number has every folkstyle wrestler spends time in daily
not.The number of our junior wrestlers has in- practice on escaping and riding. The time and
creased, but the quality, in terms of world com- energy allotted to these two wrestling tactics is
petition, has not improved. The experience and specific to a style of wrestling practiced only in
technical knowledge of a small number of senior- the U.S. and having limited application to in-
level coaches has improved, but the number of ternational wrestling.
Greco-Roman coaches has increased only Current sound physiological, psychological,
slightly. and biomechanical principles should guide our
Because the Greco-Roman expertise seems to selection of techniques and tactics. Folkstyle
be available and athletes and coaches seem in- wrestling develops athletes who must be in top
terested, we must find a way to bring them physical condition. This is mainly because in
together to arrange a structured, orderly pro- folkstyle, a wrestler spends a large portion of
gram of Greco-Roman development. This means the match on the mat. He therefore is always
wrestling people active in folkstyle, freestyle, in direct contact with his opponent. This means
and Greco-Roman must share their knowledge that the defensive wrestler is continually being
and enthusiasm for wrestling. The numerous held down by the offensive wrestler who is striv-
wrestling organizations to which these people ing to accumulate riding time. Because an es-
belong must be directed by their membership cape by the defensive wrestler results in a point
to take part in the development of a unique being scored, the activity by both wrestlers is
American style of Greco-Roman wrestling. The intense. The level of endurance required for this
uniqueness of style will come from the applica- type of wrestling ensures that both wrestlers re-
tion of foikstyle philosophy and technique to the main in top shape.
philosophy and technique of today's Greco- The constant attacking of the opponent's legs
Roman wrestling. Each individual, club, and forces a folkstyle wrestler to focus on one area
school should seize the opportunity to broaden of the body in his attempts to score. This allows
and improve American wrestling. the opponent to focus his defense on one area
of attack. So to succeed, a wrestler must be very
strong and have a well-developed sense of stub-
Folkstyle Tactics born determination.
In addition to an open style of leg attack, folk-
In attempting to nurture an American style of style wrestlers learn to scramble from all positions
international Greco-Roman wrestling, we must in the constant sequences of escape and coun-
determine the sound characteristics of folkstyle ter, stand up, takedown and sit out, and follow.
wrestling that can be applied to international
wrestling and eliminate emphasis on training
that is not applicable or might even be detrimen- Applying Folkstyle
tal to effective international wrestling. For ex- to Greco-Roman
ample, in folkstyle wrestling, the desire to win
the escape point leads to movement for move- Upper body wrestling, as it might be defined in
ment's sake alone. This tactic may be effective folkstyle, usually means arm drags, duck un-
in folkstyle wrestling because the top man is ders, bear hugs, side whizzers, lateral drops,
not permitted to lock his hands around the front head and arms, and headlock hip throws.
defensive man's trunk or legs. One of the top All are legitimate wrestling moves used in
Refining Wrestling Using Greco-Roman Technique 3
Greco-Roman to score and win matches. But in per body attack to a leg attack-oriented wrestler
folkstyle, more often than not these moves are requires the time, practice, and patience needed
used as defensive tactics to counter a leg attack to alter a subconscious conditioned reflex. The
or as a last-ditch maneuver when a wrestler is examples that follow provide an idea of how
behind, running out of time, and needing big wrestlers can use folkstyle skills in Greco-Roman
points. wrestling.
The use of upper body position and control
has not been developed enough in the United • Though direct attacks on the legs of an op-
States to allow wrestlers and coaches the oppor- ponent that require use of the arms or legs are
tunity to study and understand standing not used in Greco-Roman wrestling, proper foot
wrestling. and leg positioning is crucial. The wrestler's foot
The techniques employed to take an opponent and leg position provides the base from which
down (below-the-waist leg attack) and the po- all upper body wrestling emanates. Correct
sitions adopted to keep him down (ride him) put positioning of hips and legs makes lifting and
both wrestlers in a position that causes the long throwing an opponent not only possible, but
axis of the body (the back) to be parallel to the also more efficient.
surface of the mat. Generally this leads wres- • The direct frontal attack learned from the
tlers to become accustomed to wrestling on their double-leg attack in folkstyle can readily be ad-
knees with their heads close to the mat. They justed to a high double leg aimed at and above
become comfortable wrestling in positions that the waist. Likewise, the body movement learned
limit their usable techniques and provide their in a high-crotch single leg can very easily become
opponents with a variety of defensive tactics and a duck under. The up-and-down, in-and-out
scoring opportunities. The wrestling maneuvers movement so familiar to folkstyle wrestlers can
that best fit the folkstyle rules force individuals be used effectively in changing level and flank-
to wrestle from a very difficult and inefficient ing movements in Greco-Roman. The value of
wrestling position. these movements is increased because the wres-
A wrestler with a limited area of attack (from tler's legs need not be defended.
the waist down) is easily defended against. In • The contact or locked positions seen in folk-
addition, because of the inferior position of at- style are few. Most attacks start from a no-
tack he is often scored against with counter- contact position. However, the locks used can
moves by an opponent in a position of better be developed readily and expanded upon in
leverage that offers greater mobility with less Greco-Roman.
energy expended. The semi-erect posture and
• The collar-elbow lock commonly used in
higher level of attack used in Greco-Roman offer
folkstyle can be adjusted to a head and arm
a valid alternative to the low attack. Familiarity
headlock position in Greco-Roman. The two-on-
with some simple principles and techniques will
one armlock (controlling an opponent's arm with
allow a wrestler to develop a style, sequence,
both of your arms) and the over-under arm po-
and coordination of upper and lower body holds
sition are common in Greco-Roman.
into a plan for total body wrestling.
The folkstyle wrestler's initial involvement The folkstyle wrestler will have to adjust his
with upper body wrestling might well begin by stance and positioning to facilitate wrestling in
applying skills he has developed in folkstyle to a chest-to-chest contact position. He also must
Greco-Roman. For example, in folkstyle wres- develop confidence in his ability to arch and
tling, the arm drag is a secondary technique. In throw back. Most throws come from a pulling
Greco-Roman, it is a highly developed attack and turning motion. These movements are in
series. Any attack or defense that concerns any direct opposition to the drive-and-push action
part of the body from the waist up in any style taught in folkstyle. Adjusting to this difference
of wrestling is applicable to Greco-Roman. All takes effort and time. The ability to scramble
of the techniques of Greco-Roman apply to other from any position learned in folkstyle is a valu-
styles of wrestling as well. The depth of study able asset in Greco-Roman. Many Greco-Roman
done on upper body control, balance, and flurries that result from throws and near throws
throwing in Greco-Roman has occurred simply offer the scrambler a chance to score and use an
because the area of attack is limited by the rules. opponent's action against him.
The variety and nuances of Greco-Roman en- Scrambling can be effective in mat wrestling
rich the other styles. Adding a sophisticated up- if it is not defined as movement for the sake of
4 Greco-Roman Wrestling
movement alone. In folkstyle, continual move- can score points for the bottom man when the
ment is used by the bottom man because he can situation is right. However, they usually are not
score points by escaping, and his opponent can the first move on the bottom. The prime con-
score by riding him. Careless movement on the cern for the bottom man is defense. If he is
mat can offer easy opportunities for one's op- successful in his defense, the referee will return
ponent to score. Well-thought-out movement both wrestlers to a neutral position. Remember
and constant adjustment are essential to good that any sound wrestling maneuver can be ef-
mat defense. fective in the correct situation, no matter what
In certain circumstances, a stand-up to a neu- the style. The only limitation comes from rule
tral position is a wise tactic, even in Greco- restrictions or tactical concerns.
Roman wrestling. Side rolls and switch actions
CHAPTER 2
Fundamentals of
Greco-Roman Wrestling
5
6 Greco-Roman Wrestling
rest of the body will follow (see Figure 2.9a). Figure 2.7, a and b The high lock puts you in position
Control of your opponent's head means control to score.
of his body. The muscles of the torso essentially
are designed to function when the vertebrae are
attack areas makes it possible for you to control
in line and erect. The efficiency of these muscles
and overcome an opponent without a chest-to-
in your opponent can be severely limited if you
chest confrontation. Controlling both secondary
twist or move his head (see Figure 2.9b). Head
and primary attack areas makes for scoring op-
position and movement are closely related to cor-
portunities. If you control your opponent's head
rect timing in the execution of moves.
and hands, you will be able to move your op-
ponent and achieve proper foot placement and
positioning.
Secondary Attack Areas The five secondary attack areas are shown in
Figure 2.11. They are as follows:
Very often you can work into control of a pri-
mary attack area by controlling a secondary at- 6. The waist
tack area, such as the wrist, as shown in Figure 7. The wrist
2.10. Having control of the primary attack areas 8. The elbow
allows you to secure and maintain a dominant 9. The shoulder
body position. Having control of the secondary 10. The neck
10 Greco-Roman Wrestling
Positioning
All wrestlers must know the word position and
must learn to use position to their advantage.
Your body position, your opponent's body po-
sition, and the relationship of each to the other
is extremely important.
Properly positioning your own body and
mamtaining that position as it relates to your op-
ponent, the mat, and your center of gravity is
the base from which you develop control of your
opponent. You must maintain this position
when attacking or defending.
Getting into the preferred positions is not easy
and requires tenacity as well as technique.
Whenever you venture from the sound basic po-
sitions, it must be to attack. Your attack must
be immediate and without hesitation.
You can create strong positions by moving
either your opponent or yourself to the desired
position. If you are tactically accomplished, you
can create situations where your opponent will
unknowingly and voluntarily move himself into
the position you desire. Very often you must
take a risk and present him with bait that he can-
not refuse. You must be prepared to instantly
recognize your advantage and attack.
Positions that put your shoulder at the mid-
line of your opponent's body and one leg in
primary attack area 1 while your total body po-
sition is a wedge will keep your center of gravity
below your opponent's and give you an advan-
(continued) tage (see Figure 2.16, a and b). Pulling and turn-
Figure 2.15, d-g The two-on-one to a bodylock.
14 Greco-Roman Wrestling
Pummeling
The concept of total body pummeling is impor-
tant in wrestling. The idea is to position your
head, arms, legs, and body to provide a posi-
tion of advantage from which you can off-
balance your opponent, throw him, or both. It
is easy for beginning wrestlers to perceive pum-
meling as strictly a hand and arm function. A
wrestler's hands and arms are his most mobile
and versatile weapons. To best utilize these as-
sets, you must remember that they must not
function independent of the body. They are Figure 2.20, a and b Improper arm extension opens an
most effective when used as hooks to hold your attack area.
opponent tightly to your body. Hands and arms
also provide a first line of defense to keep your
opponent out of scoring positions.
When working for the advantage of an under-
hook, extending your arms out from your body
will give your opponent scoring opportunities
and will take you out of a sound body position
(see Figure 2.20, a and b). Pulling and turning
with the underhook will break your opponent's
balance (see Figure 2.21).
The moment your opponent is off balance, po-
sition your underhook shoulder under his shoul-
der. This will create space between your bodies
that will allow you to move your overhook hand
to his wrist, and drive your hand, arm, and
shoulder down to facilitate a double underhook
(see Figure 2.22a). You are now in a position to
use your leg strength to lift your arm and hook
your opponent at the shoulder joint (see Figure
2.22b) or secure a double underhook (see Figure Figure 2.21 The underhook can break your opponent's
2.22c). balance.
16 Greco-Roman Wrestling
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atffmmB sw*fi -~y.~ c i
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(continued)
Figure 2.24, a-e Off-balancing techniques.
18 Greco-Roman Wrestling
Scoring Points on your feet are the double underhook, the over-
and-under arm position, the single underhook,
the single overhook, the outside two-on-one
Any time you can gain two-on-one control of a armlock, the inside two-on-one armlock, the
limb or control of two of the primary attack front head- and armlock, the pinch headlock,
areas, you should score points. and the bodylock around one arm and the body.
As you learn the attack areas, you will begin The scoring positions on the mat are the body-
to recognize the basic scoring positions in Greco- lock, the reverse bodylock, the armlock, the
Roman wrestling that are shown and discussed head-and armlock, and the nelson series of arm-
in subsequent chapters. The scoring positions and headlocks.
What is the common element that allows a technique to be effective in several wres-
tling styles? The areas of vulnerability of the human body are the same regardless
of style. Only the particular rules make one area of vulnerability more promising
in one style than in another. The basic positions of advantage discussed in this
chapter provide each wrestler with a sound base from which he may create per-
sonal variations of known and successful techniques and perhaps create a new
maneuver.
CHAPTER 3
Active Wrestling:
Attack and Counterattack
O
A wrestler can take three courses of action in a
match: attack, counterattack, or block. Attack
and counterattack are considered active wres-
tling. Blocking is considered passive and can be
classified as stalling. It is neither an attack nor
Because the rules of wrestling clearly en-
courage active wrestling, this chapter will focus
on the principles of attack and counterattack.
19
20 Greco-Roman Wrestling
Gaining Control
You must gain control of one of your opponent's
primary or secondary attack areas (see pages 7,
9, and 10 in chapter 2) before voluntarily mov-
ing out of the wedge position to begin your at-
tack. You then work for control of a second
attack area. The instant you have control of the
second area, execute the technique for which
you were working. For example, when work-
ing to off-balance your opponent, gain control
of his wrist (a secondary attack area) with an
overhook (see Figure 3.1a) or with an un-
derhook, and use your hips to off-balance him
(see Figure 3.1b). Or duck under your opponent
from a pinch headlock position (see Figure 3.2a).
An outside leg position head pull to off-balance
him is also very effective (see Figure 3.2b).
If you do not get control of two attack areas,
recover to your wedge position and keep your
opponent out of your vulnerable areas by us-
ing defensive pummeling. When your position
is secure, immediately begin probing for new
openings.
Figure 3.1, a and b Positioning below the waist to break
Weakening Your Opponent your opponent's balance.
It is to your advantage to be able to recognize than he desires takes him out of the tempo for
weaknesses in your opponent's style. You also which he has trained and gives you control of
must be able to create weaknesses. Creating a the match.
weakness gives you opportunities to score. In addition to tiring your opponent, you can
Tiring your opponent is an obvious way to gain an advantage by using positions and locks
weaken him. The most active body parts in pum- that are not to your opponent's liking. Wrestling
meling are the arms. If you tire his arms, you from positions at which you are most adept not
break down his first line of defense. Putting con- only puts your opponent at a disadvantage, but
stant pressure on his arms forces him to con- also allows you to wrestle from a familiar posi-
stantly carry your weight and lift from a weak tion of strength.
position. Pummeling his head with your arms If you have an opportunity to scout your op-
and his body with your shoulders will take its ponent before your match, make sure to observe
toll on his trunk. Every time your opponent tries the physical and technical aspects of his style
to lift from a weak position, he loses valuable as well as his intellectual approach (tactics). You
energy. also must get a sense of his emotional approach
You also can weaken your opponent by mak- (intensity). Observe him closely for any subcon-
ing him wrestle at a tempo to which he is unac- scious habits that you might be able to use to
customed. Having to wrestle faster or slower your advantage. For example, if he always under-
Active Wrestling: Attack and Counterattack 21
Figure 3.7, a-c The arm drag counter to the front head
and arm lock.
When Your Body Is Attacked for which you are ready. You must then turn
his throwing action into your throwing action.
To counter an attack to your body, getting into For example, if your opponent starts a head-
the wedge position with control of one major lock, lower your hips and lock around his body
attack area is your first move. Constant off- (see Figure 3.9, a and b). Step in front of your
balancing and pummeling will keep your oppo- opponent, tighten your lock, and lower your
nent reacting to you. hips to achieve a lifting position (see Figure 3.9,
If you are caught on your back, keep your free
shoulder off the mat (see Figure 3.8a) and posi-
tion your free arm under your opponent's shoul-
der and between your bodies so that you can
drive your hand between your body and your
opponent's (see Figure 3.8b). Then turn to a
defensive position on your stomach (see Figure
3.8c).
Counterthrows are possible but depend on
planning and luring your opponent into a throw
(continued)
Figure 3.9, a-f The step-around counter to the
headlock.
O
Scoring big in Greco-Roman wrestling means
throwing your opponent. Throwing your oppo-
nent requires that you control his center of
gravity, which you do by controlling his trunk.
To control his trunk you must lock your arms
Bodylocks
Securing control of primary attack areas gives
you the opportunity to score with a bodylock.
Locking your hands around some part of your
around his body. Thus we see that attacks to the
opponent's body is essential for control. In
body are not only fundamental but also essen-
general, the greatest force can be exerted in the
tial to scoring big and creating opportunities for
direction in which the palms of your hands are
arm and head throws.
facing. When the palms of your hands face each
To attack the body effectively, you must be other in a lock, the greatest force can be exerted
reasonably close to your opponent's center of in a side-to-side movement.
gravity. Thus, pummeling, pulling, and turning
There are many ways to lock your hands. Each
are important actions and allow you to penetrate
method has strengths and weaknesses. This
and control vulnerable attack areas. This con-
naturally means that particular locks are better
trol creates opportunities for scoring and pro-
for some holds than for others.
vides control related to defense and counter-
wrestling.
27
28 Greco-Roman Wrestling
(continued)
Figure 4.5, a-d The bodylock slide-by. Figure 4.6, a-d The head-and-arm slide-by.
Attacks to the Body 31
r
Jf
Figure 4.9, a-c The turning slide-by. Figure 4.10, a-c The step-across slide-by.
34 Greco-Roman Wrestling
(continued)
Figure 4.11, a-d The slide-by to a bodylock.
When you have secured a high hook lock and a circle away from the direction in which you
your opponent lowers his center of gravity and are twisting him. You must maintain contact be-
moves away from you, you will find it hard to tween your hip and your opponent's belly to
drop to his waist or slide by (see Figure 4.14, keep your center of gravity under his. As you
a and b). pull, twist, and turn in a tight circle, your op-
ponent's back will turn toward the mat as he lifts
his free leg above your hip (see Figure 4.15c).
Keep your hips lower than and under your op-
ponent's. Continue turning until your opponent
is taken to the mat (see Figure 4.15d).
To throw your opponent back from a double
underhook in a belly-to-belly position, use a high
butterfly lock. As you backpedal to create the
throwing posture, remember that your oppo-
nent's arms and legs are free. Your arch must
be high and straight back. Your opponent must
hit the mat on his back.
When you are in a double underhook and
your opponent goes to a double overhook (salto
Over-Under Chest-to-Chest
Position
A very common position in classic Greco-Roman
wrestling is the over-under chest-to-chest posi-
tion. This is the position from which pummel-
ing for an advantage has traditionally begun.
It is possible to make many different attacks
from this position. The over-under chest-to-chest
position requires constant centering a n d
maintaining a good wedge. You must keep your
center of gravity lower than your o p p o n e n t ' s
and keep your overhook-side leg forward. Your
shoulder should be at the midline of your op-
p o n e n t ' s body a n d your head outside his
shoulder.
Your underhook should not be deep a n d
should be at your o p p o n e n t ' s hip or shoulder.
All of your weight must be centered a n d used
to pull your opponent down. Stand on your own
points of support; do not lean on your opponent
(see Figure 4.18). To attack the body from this
position, you must secure control of at least two
attack areas. You can do this with your overhook
Figure 4.17, a-c The high double leg hip swing. arm, your legs or hips, or your head.
Attacks to the Body 39
Step-Around Bodylock
One of the classic throws from the over-under
chest-to-chest position is the step-around body-
lock. Once you are in the correct position, start
the throw by pulling your opponent's shoulder
to you with your underhook hand. As you pull
and turn, position your overhook-side foot be-
tween your opponent's feet in attack area 1 (see
Figure 4.19a). As his body comes close to yours,
change levels and lock your hands in a butter-
fly grip at his hips (see Figure 4.19b). When his
arm is encircled, press tightly to his body. Step
around with the leg further from your opponent
to a position that would place your foot behind
your opponent if you were not lifting him from
the mat as you turn (see Figure 4.19c)
Keep turning into a back arch position, throw-
ing your opponent in an arc that will take him
over your overhook arm's shoulder (see Figure
4.19, d and e). He will turn 360 degrees and land
on his back (see Figure 4.19f). Finish the throw
to a bodylock pin position.
You can create a different throw by altering
your foot position after preparing your upper
body for the step-around bodylock. When you
have secured the bodylock position, put your
underhook foot between your opponent's legs
and bring the overhook leg to a position to the
side of your opponent's underhook leg. Twist
his upper body toward your underhook (see
Figure 4.20, a and b). You will be in an arched
position under your opponent. As you begin to Figure 4.19, a-f The step-around bodylock.
40 Greco-Roman Wrestling
(continued)
Figure 4.21, a-d The step-by bodylock.
42 Greco-Roman Wrestling
Sagging Bodylock
The sagging bodylock throw is a favorite of
Olympian and national champion Andy Seras.
The preparation for this throw is identical to that
of the step-around bodylock.
The throw begins when your penetration leg
is between your opponent's legs, before the
step-around (see Figure 4.22a). Assume an
arched position with your hands locked and en-
circling your opponent's body and one arm (see
Figure 4.22b). Both of your feet should be com-
mitted to a full body arch. Pull your opponent
directly over your body (see Figure 4.22c). Thrust
your hips up and hold them in tight contact with
your opponent. Keep the leg that is between his
pressed against the inside of his thigh on the side
of his free arm. Your body position will put all
of your weight on your opponent's foot (see
Figure 4.22d).
Your opponent might now believe that he can
put his free arm to the mat and land on top of
you. At this critical position, a change of direc-
tion must occur.
Thrust your hips toward the ceiling, creating
a high arch (see Figure 4.23a). Look over your
shoulder (of the tied-up arm) and throw your
opponent over your shoulder in the direction in
line with your backbone (see Figure 4.23b).
If you catch your opponent off guard, some-
times twisting his upper body and placing all
your weight over the heel of the foot on the side
of his tied-up arm can make him simply fall to
his side (see Figure 4.24, a-c).
» i Duck Under
The duck under is an important part of Greco-
Roman wrestling. This technique is widely used
in freestyle and American folkstyle wrestling and
is one of the natural bridges between the styles.
As we continue to develop our presentation of
Greco-Roman wrestling, other bridges will ap-
pear as well.
To execute the duck under, you need enough
space between your opponent's body and up-
per arm to allow your head to penetrate the at-
tack area. In Greco-Roman, the erect stance and
upper body contact tend to make a wrestler keep
his upper arms close to his sides. This also is
an obvious defensive position. As the upper
body inclines forward, the functional position
of the upper arm changes. To keep his balance
and engage in hand contact, your opponent will
move his elbows away from his trunk as he
bends forward (see Figure 4.26a). From this po-
sition, simply changing levels will allow you to
place your head in the attack area or duck under
(see Figure 4.26b).
You may not get the opportunity to execute
the duck under when wrestling a conservative
and basically upright wrestler. So, when fight-
ing for the underhook is fierce, keep your op-
ponent's arm out of your armpit (see Figure
Figure 4.25, a-d The heel trap lateral drop.
4.27a). As he becomes intent on driving his hand
under your arm, pull his arm by your body and
turn your head as if to look at your own armpit
(see Figure 4.27b). This action will place his arm
over your head (see Figure 4.27, c and d). To
secure a scoring position, lift your head as it gets
under your opponent's shoulder.
Attacks to the Body 45
(continued)
Figure 4.27, a-d A duck under variation.
Arm Drag
The arm drag is another universal technique that
allows you to control your opponent's body. Out
of a pummel or any other action, it is possible
to reach across your body and hook your oppo-
nent's arm above the elbow. In other words,
grab your opponent's right arm above the elbow
with your right hand, or grab his left arm with
your left hand. Hook his triceps and pull his
Figure 4.28, a-d Using the duck under to go behind shoulder across the front of your body. Your
your opponent. chest will come to a position above your oppo-
nent's shoulder (see Figure 4.30, a-c). The same
foot positions used with the duck under are ef-
fective with the arm drag.
The same foot can move to a position between
your opponent's legs (see Figure 4.29a). It also
is effective to move your other foot to a posi-
tion in front of and to the far side of your oppo- Over-Under Tie-Up
nent (see Figure 4.29b). From these positions,
a one-point move to the mat is likely and a throw Folkstyle wrestlers will recognize the over-under
is a good possibility. tie-up as the lateral drop position. In Greco-
Attacks to the Body 47
Figure 4.31, a and b The inside leg position lateral drop. Figure 4.32, a and b The lateral drop from your knees.
Attacks to the Body 49
(continued)
Figure 4.33, a-d Creating an opening for a two-on-one Figure 4.34, a-e Attacking the body from a two-on-one
armlock. armlock.
50 Greco-Roman Wrestling
jX
(continued)
Figure 4.34, a-e (continued) Figure 4.35, a-d Attacking the head and the arm.
Attacks to the Body 51
The body attacks that are unique to Greco-Roman wrestling serve to distinguish
it from folkstyle and freestyle. Developing the body attack and making it just as
equally crucial to folkstyle wrestling not only would open up a new and exciting
area of wrestling, but also would create a valid threat to opponents and a logical
reason for the changing levels of attack that are currently popular in folkstyle and
freestyle wrestling.
It also would increase the effectiveness of leg attacks, because as the threat of
upper body scoring techniques becomes a reality, the nature and complexity of
defense changes. A leg attack is specific to one area of the body. This dictates that
the defense can be specific, also. A leg attack most often results in a one-point
takedown, and no danger of a fall occurs.
Upper body wrestling creates a position where you are closer to your opponent's
center of gravity and therefore closer to his legs. A throw from standing can result
in one, three, or five points, with a fall always imminent.
The chance to create scoring opportunities is greater when you have contact with
your opponent. Wrestling from a noncontact position depends on speed, deter-
mination, and catching your opponent off guard. Very often, you end up wres-
tling from an inferior mechanical position.
To be more than a "half-body" wrestler, you must have a working knowledge
of both upper and lower body techniques.
CHAPTER 5
Arm Attacks
In many cases, the first contact you have with Exposing the Arm
your opponent will be with his hands and arms.
It is most certainly to your advantage to be able
to use your opponent's hands and arms to gain The further away from one's center of gravity
an advantage that can create opportunities for a limb is extended, the lesser the person's
you to score while limiting his chances of strength and control of that limb. Extending an
scoring. arm not only weakens the limb but also exposes
Because our arms can move rapidly and in critical attack areas. Begin the attack on the arms
many directions, arm control is difficult. It will be with correct arm pummeling along with good
to the attacker's advantage to have two arms on body position that off-balances your opponent.
one, or three arms on one whenever possible— Moving your opponent's center of gravity or
that is, using your body, your head, or your causing him to move it for you will expose his
shoulder as a third "arm" is essential to com- arms to attack. Many successful arm throws be-
plete control of an opponent's arm. Again, gin with a body attack, and vice versa. Chang-
remember that each arm has three movable ing the level of your center of gravity and turning
joints—the shoulder, the elbow, and the wrist. to outflank your opponent also can open up the
Isolating and positioning these joints to limit attack areas of his arm.
both their range of motion and the complete use One of the objectives of the pummel is to off-
of their attached muscle groups will give you bet- balance your opponent. You can do this by pull-
ter control of the limb. ing and controlling his head (see Figure 5.1). You
55
also can achieve it by lifting or pulling down on
his shoulder (see Figure 5.2, a and b). All three
techniques should be done with a pulling and
turning motion. It is to your advantage to make
your opponent reposition his feet. This is done
by your leg, foot, and hip positions that take
your opponent out of position. Your getting con-
trol of his elbow and hands also will make him
readjust his arm position, offering you openings
for attack.
(continued)
Figure 5.3, a-h
(continued)
Figure 5.3, a-h Executing the arm spin.
58 Greco-Roman Wrestling
(continued)
Figure 5.4, a-d The outside arm spin.
Flying Mare
Use the flying mare arm throw when your op-
ponent is pushing into you, is bent forward at
the waist, or both. This throw must be done as
a swift, compact, one-action move. As your op-
ponent pushes into you, place your shoulder
under his opposite armpit (see Figure 5.8, a and
b). Grasp his upper arm, lift both of your feet
from the mat as you turn 180 degrees, and drop
to a position directly under his center of gravi-
ty on both your knees (see Figure 5.8, c-e). If
you do not penetrate a second attack area be-
tween his legs with your body, it will be hard
to make this move successful. Pull down on his
arm and touch your forehead to the mat (see
Figure 5.8f). He should be coming over your
shoulder just before your knees touch the mat.
Keep your weight on his shoulder as you work
for a pin position.
The flying mare also may be used from an out-
side armlock. Again, place your shoulder under
your opponent's opposite armpit and grasp his
arm (see Figure 5.9a). Turn and bend your knees
to drop to a position directly under his center
Figure 5.7, a-e The armlock hip throw. of gravity. Drive your throwing arm under your
opponent's armpit and thrust it toward the ceil-
ing (see Figure 5.9b). Pull down on his arm and
touch your forehead to the mat (see Figure 5.9c),
and finish off the throw (see Figure 5.9d).
Arm Attacks 61
^^|jj|2
f
-*&ij [ ^ ^
(continued)
rf
(continued)
Figure 5.8, a-f The flying mare.
62 Greco-Roman Wrestling
Shoulder Throw
An effective shoulder throw can be used as a
single technique or as a variation of one of the
previously mentioned arm throws. In one type
of shoulder throw, you can combine attack area
control and base foot off-balancing. To do this,
place your shoulder in your opponent's armpit.
You must pull his arm down and away from his
center of gravity to freeze his foot to the mat (see
Figure 5.10a). From your base foot, deliver force
in a direction that will drive your opponent over
his base foot and to the mat (see Figure 5.10, b
and c).
A shoulder throw variation of the arm spin is
feasible in several situations. One is a combina-
tion of arm spin, shoulder throw, and hip throw.
As you drop your shoulder under your oppo-
nent's armpit, adopt a modified arm spin foot
position (see Figure 5.11a). By pivoting on the
balls of both feet, you turn your back to your
opponent (see Figure 5.11b). From here you can
take him to the mat by spinning, hip throwing,
or dropping to both knees.
When you are attempting an arm spin or other
arm throw, very often it becomes apparent that
the original technique you intended is not go-
ing to work. This situation dictates a change in
direction of force. A shoulder throw can do this
and keep your chance of scoring alive. When
your opponent counters the arm spin (see Figure
5.12a), the direction of force is changed, and the
arm spin becomes an arm throw (see Figure
5.12b).
(continued)
Figure 5.9, a-d The outside flying mare.
Arm Attacks 63
(continued)
Figure 5.15, a-e Creating an opening (a), hand control
(b), and the drive shoulder throw (c-e).
66 Greco-Roman Wrestling
Salto Position
Occasionally, you may have the opportunity or
may find it necessary to attack both arms. The
Figure 5.15, a-e (continued)
double-over armlock or salto position can be an
effective offensive or defensive scoring tactic.
The word salto is used to describe this technique
because your opponent will likely do a forward
li your opponent is not knocked off his feet, somersault as the move is completed. This ac-
you will be in perfect position for the shoulder tion is known as the full salto.
throw. For example, if he moves his hips back When your opponent has secured a bear hug
(see Figure 5.16a), note the increasing space be- position, immediately lower your center of gravity,
tween your bodies, and immediately drop to a get the double overhook armlock, and work to
flying mare position (see Figure 5.16b). Then get one or both feet between your opponent's
complete the throw to the mat (see Figure 5.16c). knees and in the attack area (see Figure 5.17a).
Arm Attacks 67
(continued)
Figure 5.17, a-e The salto. Figure 5.17, a-e (continued)
68 Greco-Roman Wrestling
(continued)
Figure 5.22, a-d The arm throw counter to the two-on-
one armlock.
Remember that to control a limb you must isolate the movable joints and position
them to inhibit normal muscle function. The same principle applies to the trunk,
head, and legs. You achieve off-balancing when your opponent is in a position
from which he cannot adjust his support points to accommodate movement of
his center of gravity, or when he cannot adjust his center of gravity to accommo-
date movement of his head or limbs. Position, force, and velocity combine for posi-
tive control of your opponent.
As we have seen, there are a variety of arm attacks. This number is expanded
by your ability to attack either side of your opponent's body with one or two arms
from numerous positions. And because the limbs are attached to the body (center
of gravity), the opportunities for you to off-balance your opponent and create weak-
ness in his defense are literally at your (or his) fingertips.
CHAPTER 6
O
Control of an opponent's head and arm will give
you a position of major control. It also is one of
the highest percentage scoring moves from both
an offensive attacking position and a counter-
attacking front headlock position. That's why at-
among wrestlers. When an opponent keeps his
head lower than yours, it is convenient to pull
and move him in a circle. This action will bring
his shoulders ahead of his hips and place his
back parallel to the mat.
tacking the head and arm is one of the most When setting up the opportunity for a front
popular moves in all styles of wrestling. Even head- and armlock, begin by pulling your op-
beginning wrestlers, without any instruction, ponent's shoulder using a two-on-one shoulder
will naturally attack the head and arm. pull, and step in toward your opponent (see
Never pass up the opportunity to lock your Figure 6.1a). Turn your opponent, lower your
arms around one of your opponent's arms and hips, and begin the arm drag (see Figure 6.1b).
his head. From this position, you can control Pull in a circle and snap his shoulder down (see
your opponent's movement and put him in a Figure 6.1c).
weak wrestling posture. This presents many You are now prepared to wrestle for a head-
scoring situations. and armlock. As you pull and turn your oppo-
nent, grab his chin and move away from him.
Place the biceps of your arm holding his chin
Front Head and Arm Positions on the back of his neck. You now should be
shoulder to shoulder with him (see Figure 6.2a).
Several front head and arm positions are effec- With the inside of the forearm of your other arm,
tive, and the front head- and armlock is a favorite pull his elbow tight to the side of his head. Move
73
74 Greco-Roman Wrestling
Use a bridge over to the side when you are Figure 6.4, a-c Front bridge over to the side with a chin
on the mat and have control of your opponent's and hand position.
chin and wrist (see Figure 6.4a). Kick back for
the bridge over, keeping your control (see Figure
6.4b), and roll through to complete the move (see
Figure 6.4c).
Begin the head under arm bridge back move
from a standing hand- and chinlock position (see
Figure 6.5a). Open the attack area by extending
your opponent's arm horizontally (see Figure
6.5b). Put your head into the attack area (see
Figure 6.5c) and bridge back to complete the
throw (see Figure 6.5d).
You can execute the fireman's throw from the
position shown in Figure 6.5a. Drop to your
knees under your opponent to get into the fire-
man's throw position. Pull down on his head
and push up on his trunk (see Figure 6.6a). Then
lift your opponent's hips and complete the (continued)
throw (see Figure 6.6b). Figure 6.5, a-d A bridge back.
Attacking the Head and Arm 77
(continued)
^flJ
Figure 6.8, a-h
Pull his upper arm toward your hand that snapping his shoulder over, and turning his
holds his chin, and make a one-quarter nelson back to the mat (see Figure 6.10, c and d).
lock by placing your underarm hand on the fore- You also may choose to move to a head-to-
arm of the chinlock hand (see Figure 6.10, a and head position and do a bridge over with the one-
b). Test how strong his neck is. From here you quarter nelson grip (see Figure 6.11, a and b).
may pop him to his back by pulling on his chin, If your opponent is able to get his head under
your arm, turn and pull his head to keep him
from bringing his hips under his shoulders.
Thrust your other arm across his body and in
a front of his hips to keep them back. Your arm
under his body very often is in position to grasp
the back of his upper arm.
Lock the hand of your arm that is around his
head on the forearm of your arm that is across
his chest. From this position you can throw back
or bridge over.
Head- and armlocks are fundamental to Greco-
Roman wrestling. No repertoire of Greco-Roman
techniques is complete unless it includes several
variations.
Over-Under Position
From the over-under position, you can achieve
a very fast and effective headlock. Position your-
self and present resistance (see Figure 6.12a).
Then allow your opponent to begin to gain a po-
sition inside your underhook. As he attempts
to get the underhook, allow his head to move
to your overhook side.
Pivot on the foot of your lead leg as if your
leg were a corkscrew drilling down into the mat
Figure 6.10, a-d The quarter nelson. (see Figure 6.12b). This will make your center
Attacking the Head and Arm 81
(continued)
Figure 6.12, a-e The corkscrew headlock.
\¥
y
E I
6-
h
b
(continued)
Figure 6.14, a-f The hip punch headlock from an open
position.
84 Greco-Roman Wrestling
Upright Position
Securing a lock in which you control your op-
ponent's head and arm in an upright position
can offer you several head and arm opportuni-
ties (see Figure 6.17a). In this pinch lock, the el-
bow of your arm around his head should be on
the midline of his body. Your other arm should
be positioned so that your shoulder is under his
armpit (see Figure 6.17b).
Your hands should be in a hook lock on the
side of his head. Pull his head tightly to your
chest. Your underhook-side leg is deep in the
attack area. From this position you can pull and
turn him to the mat with a headlock, or move
to a rear bodylock position (see Figure 6.17, c
and d).
(continued)
Figure 6.17, a-d The offside head- and armlock.
86 Greco-Roman Wrestling
Figure 6.19 Positioning for a hip throw. Figure 6.20, a-c Positioning for a duck under.
Attacking the Head and Arm 87
Control of the head and arm is fundamental in directing your opponent into posi-
tions from which you can score. It also is an effective position for limiting your
opponent's movement and scoring opportunities. You must allot practice time for
developing both a head and arm attack and counters to the head- and armlocks.
When an opponent ties up with you, he presents himself as a willing subject for
the head and arm series. Be ready to take advantage of the situation and score.
CHAPTER 7
O
Par terre wrestling, or wrestling on the mat, is
of special concern to the international wrestler.
By nature of the par terre starting position, the
top man is the attacker and the bottom man is
the defender. Here the defensive wrestler is truly
Every wrestler must master both top and bot-
tom wrestling techniques.
American folkstyle wrestling has historically
been on the mat. It would seem, then, that
American wrestlers would be strong in mat
at a disadvantage. His movement is limited be- wrestling. In international wrestling, however,
cause the top man has a distinct leverage and Americans have been weak in par terre. They
mobility edge. have been scored on and have not been able to
It is possible for the bottom man to score a one- score on the mat. Certainly a wrestling technique
point reversal or a two-point back exposure on that is legal and effective in folkstyle will work
the top man. However, in attempting such in international-style wrestling. Why then have
moves he very likely will open himself up for Americans been weak in par terre?
two-point exposures, three-point lifts, and even The problem begins with the philosophy of
a five-point lift. Because the top man is in posi- constant control on the mat—holding your op-
tion to score big points, the most common tac- ponent down and his constant movement to es-
tic the bottom man employs is to assume a cape. American rules give points for riding an
defensive strategy until it is apparent that the opponent and escaping from his control to a
top man is unable to score in a reasonable neutral position. Neither of these actions work
amount of time (15-20 seconds) and the referee directly toward the fall—the ultimate goal of all
returns the wrestlers to a standing neutral po- wrestling. A wrestler can be very successful,
sition. even win titles, without being concerned about
89
90 Greco-Roman Wrestling
putting his opponent's shoulders toward the the man down or escaping from his lock, the top
mat. As a result, the rules tolerate many actions man's entire focus is on turning and pinning his
that are not directed toward securing a fall but opponent. The bottom man's main focus is to
are designed to keep your opponent from scoring prevent his opponent from scoring. Note that
points. Many wrestlers play it safe by moving the bottom man is not limited to defense. He can
out of bounds when in danger. score if he exposes the top man's back to the mat
We most certainly need to teach our wrestlers or reverses the position of advantage, in which
the international techniques of turning, lifting, case wrestling continues.
and defending on the mat simply because the
international rules dictate those techniques that
are the most effective scoring maneuvers. It is Defensive Position
equally important to teach our wrestlers a phi-
losophy that is focused on turning the oppo- The defensive position on the mat is designed
nent's back to the mat and always seeking the to prevent turns and lifts from the mat. When
fall. you are the bottom man and you drop to the
As physical techniques become subconsciously mat, you should drop in a direction that will put
recalled movement patterns, as they must to be you a small distance forward, back, left, or right
effective, the wrestler's mind is freed to perceive of the original starting position. Your belly, hips,
the competition between wills and intellects. In and legs are pressed tightly to the mat. Your
this perception a philosophy is needed. Your back is arched and your head is up. Both arms
body will sustain the guidance of the intellect. are extended in a direction 45 degrees from the
Your willingness to creatively seek out a solu- long axis of the body. Your fingers are curled
tion to the problem at hand will fully utilize your under, and the weight of your upper body is on
physical training, your philosophical direction, the heels of each hand. Your legs are extended
and your emotional commitment. If all three are out at a 45 degree angle from the long axis of
not compatible with each other, your chances the body (see Figure 7.1, a and b).
of beating a great opponent are minuscule. Maintain this position. As the top man secures
a lock and begins to move you around the mat
or lift you, constant adjustment to maintain your
International Versus Folkstyle defensive posture is required. Any break in your
concentration will allow your proper defensive
The international starting position on the mat position to be altered, and the top man will
is familiar to most American folkstyle coaches score. Figure 7.2, a and b, shows adjustments
and wrestlers. It is basically the same as the op-
tional start employed in American high schools
and colleges. However, the intent and actions
of the top and bottom from the starting position
in international wrestling differ considerably
from those in folkstyle.
In folkstyle, the bottom man's first movement
is usually up, his intent being to escape to a neu-
tral position. In international wrestling, the bot-
tom man's first movement is usually down to
a defensive position with his belly on the mat.
His intent is defense. If the bottom man is not
scored upon in a short time, the match is
stopped, and both wrestlers come to a stand-
ing neutral position to continue the match.
In folkstyle the top man's main effort when
the whistle blows is to contain his opponent on
the mat and prevent an escape. If he does this,
wrestling continues on the mat.
International rules allow the top man a limit-
ed time to score on the bottom man. He must
work directly on locks that will turn his oppo-
nent. Because no points are given for holding Figure 7.1, a and b The defensive mat position.
Par Terre Wrestling 91
The Lock
It is fundamental to all gut wrenches that you
hold your opponent's body as tightly to yours
as possible. Two bodies must become as one.
It will be very difficult to turn your opponent
if his body position keeps his shoulders above
his hips and his back arched. For the gut wrench
to work, your opponent's hips must be even Figures 7.3 and 7.4 Creating an opening to lock your
with or above his shoulders. This means you hands around your opponent for a gut wrench.
92 Greco-Roman Wrestling
pit to the other side of his neck and lift his up- You should hold your opponent as tight to
per body over the hand on the mat to secure a your body as possible. Therefore, the best lock
lock (see Figure 7.4). is a butterfly lock to an elbow-to-elbow lock (see
Hooking both hands under your opponent's Figure 7.6).
shoulders and lifting his upper body from the
mat also will clear a path to lock your hands (see
Figure 7.5, a and b). The Low Gut Wrench
When your hands are locked, place one knee on
the mat between his legs and the other to one
a side (see Figure 7.7a). Pull and lift as you move
your lock down his body to his hips. Your lock
should now be around his hipbones (see Figure
7.7b).
Place your shoulder in the small of his back
below his rib cage. From this position, you be-
gin a low gut wrench (see figure 7.7c). Pull his
hips back toward you and lift as you keep the
pressure on his lower back with your shoulder.
This will break his back's arch and allow you to
get your knee between his hips and the mat (see
Figure 7.7d).
You can move from side to side to see how
your opponent moves. This will disguise which
side you plan to attack. When you decide from
which direction you are going to take him, place
your knee against his hip on that side. Pull his
hips back toward your lap and force down with
your shoulder in his back as you lift his hips up
(see Figure 7.8a). Hold him tight to your body
as you begin to pull him into your lap. When
his far hip comes off the mat, tighten your grip
to an elbowlock (see Figure 7.8b).
Pull him to your body and move to a position
under his hips. Once you begin the pull, do not
release the pressure on his hips. Destroy his
defensive leg position (see Figure 7.8c). Thrust
Figure 7.5, a and b Clearing a path for your hands to from the heels of your feet into an arched posi-
lock for a gut wrench. tion, and turn your opponent over to expose his
back. When your bridge over is complete, do not
go flat on your belly but follow him around to
a position in which you are ready to lift him (see
Figure 7.8d).
tr ^
<r3
's*^-
Figure 7.9, a-c The middle gut wrench.
The Lift
When lifting an opponent from the mat, you
must create a lifting position that most nearly
approximates the proper body posture and
movement that weight lifters use. Your oppo-
nent will be resisting, of course—moving and
trying to put you in a position from which you
cannot lift him. Therefore, you must disguise as
much as possible your intent to lift. You must
move to the lifting posture and get your oppo-
nent off the mat with as much speed and force
as you can.
A hook lock of the hands is best to begin the
lift. Place your lock at the midpont of your op-
ponent's body. One knee is on the mat between
your opponent's legs at his knees. The other leg
is back and to his side (see Figure 7.14a).
Swing your extended leg forward and place
your foot past your lock with the toes of your
foot pointing toward your opponent's body (see
Figure 7.14, b and c). As your foot swings for-
ward, pivot on the foot that is between your op-
ponent's legs, raising his hips to your lap,
placing your opponent's thigh on the thigh of
your leg that is between his (see Figure 7.14, d
and e). As your opponent comes off of the mat,
immediately squat and position your back per-
pendicular to the mat.
Push from your front foot and pull your op-
ponent to your lap as you lower your hips and
then lift with your legs (see Figure 7.14, f and
g). Regrip to tighten your lock if needed.
Keep your head up and your back as perpen-
dicular to the mat as possible. You can go from
this position into a back arch, throwing him
across your body (see Figure 7.14, h and i).
After securing the lock around your oppo-
nent's body, you can place your head in the mid-
dle of your opponent's back and use it as a pivot
(continued)
Figure 7.14, a-i
(continued)
Figure 7.16, a-d The sit-down gut wrench.
100 Greco-Roman Wrestling
bone. Pull and lift him onto your lap. Move your
hand from his shoulder to a position around his
waist and secure the reverse bodylock. (see
Figure 7.19, a and b).
Place your front arm as far around his body
as possible. Pull his inside hip up with your
other hand, and lock your hands around his
waist. From this position, pull his hips to your
lap as you rotate your back knee up and off the
mat. His hips are directly over your raised knee
(see Figure 7.19, c and d).
Come to a standing position by turning your
body in a circle, raising and positioning his hips
for the throw. His hips must be even with or
above your hips for an efficient throw (see Figure
7.19, e and f). Turn toward his head as you be-
gin the throw and throw him over your
shoulder.
Often it will be to your advantage to adjust
your lock to the side of your opponent's body,
away from you. The usual counter to a reverse
bodylock is to turn into your opponent, position
your inside arm between him and your body,
and push away from him as you keep the hip
further from him pressed to the mat. When this
occurs, drive your arm (pictured in Figure 7.20a
as the right arm) under his body. This will put
(continued) your lock at the side of his body away from you.
Your arm under his body is in a lifting position.
Figure 7.18, a-d Changing to a reverse bodylock.
The elbow of your other arm is on your oppo-
nent's back. Keep your front knee in his arm-
pit, forcing against his chest to possibly expose
his shoulders to the mat (see Figure 7.20a). Place
your other foot on the mat, lift your opponent,
and come to a standing position. Turn his hips
to expose his back, and complete the throw (see
Figure 7.20, b and c).
102 Greco-Roman Wrestling
«<vv~- -
(continued)
Figure 7.19, a-f The reverse body lift.
Jt ! «It
(continued)
Figure 7.23, a-f Countering the lift.
(continued)
Figure 7.27, a-f Countering the lift and gaining several
attack options.
Par Terre Wrestling 109
(continued)
Figure 7.30, a-
(continued)
Figure 7.31, a-f The half nelson.
112 Greco-Roman Wrestling
The Crossface
Very often when you are working for a half nel-
son, your opponent will raise his head. This
offers you an opportunity for a reverse cross-
face (see Figure 7.33a). Place your triceps against
the side of your opponent's face. Push and lift
so that you can reach back and hook his other
arm above the elbow (see Figure 7.33, b and c).
Use your arm as a lever to turn him toward his
back. Lock both arms for the fall (see Figure 7.33,
d and e).
When you have a crossface and see that it is
not going to be effective, reach under your op-
ponent's far shoulder with your free hand (see
Figure 7.34a). Lock that hand on the wrist of
your crossface hand (see Figure 7.34b). Move
your inside leg tight behind your opponent's
near shoulder (see Figure 7.34c). You are now
in a position to get your leg under his shoulder.
As soon as you do this, lift his far shoulder, and
pull and turn your opponent to expose his back
(see Figure 7.34, d and e).
You can do the same technique in the oppo-
site direction. When you secure the lock, jump
to the opposite side of your opponent, drive
your inside knee under his armpit, arch back,
and turn him (see Figure 7.35).
Another effective way to improve a loose
crossface is to make it a double crossface. If you
have a loose crossface position with your right
hand, move on top of your opponent and reach
around his head with your other arm. Place your
left hand on his right shoulder (see Figure 7.36,
a and b). Jump to the left side of your opponent
as you release the loose crossface and turn him
with your left arm (see Figure 7.36, c and d). Se- Figure 7.33, a-e The reverse crossface.
cure both arms for a fall.
114 Greco-Roman Wrestling
Training Exercises
and Activities
O
The act of wrestling requires control of all of
one's senses; a sharp intellect; and the subcon-
scious, pretrained movement patterns of numer-
ous physical techniques.
Whenever wrestlers engage in repeated live
throwing, the use of a crash pad is advisable.
This is particularly important if you are a begin-
ner. As you become adept at the throwing
maneuvers, and after all wrestlers have been in-
structed in safe falling, you should do the throws
on a regular legal wrestling mat. As you develop Figure 8.1 Using a crash pad.
mastery of wrestling techniques, your practice
situations should duplicate actual wrestling con-
ditions as often as is practical. Warm-Up
Using gymnastic crash pads will help allevi-
ate the stress on a live partner and will give be- A wrestler needs a pretraining warm-up to pre-
ginners a safe, soft landing area (see Figure 8.1). pare the body for the wrestling activity planned
117
118 Greco-Roman Wrestling
for each day's training session. The general goals Isometric neck exercises with a partner
of the warm-up are to raise your heart rate to Partner joint stretches for the shoulders,
70% of working heart rate, to increase circula- hips, and trunk
tion of synovial fluids in your joints, to increase
circulation to your muscles, and to prepare your After you finish phase 2, you will be ready to
muscles for the planned activity. begin preparing your body for the demands of
the wrestling practice.
Phase 1
Phase 3
Each warm-up session should include three
phases of activity with varying degrees of inten- Phase 3 of the warm-up consists of activities that
sity. In the first phase, you will raise your heart let your body make contact with the mat and
rate by doing activities that fall within an easily another body. Tumbling exercises such as for-
available range of motion. Circulation in your ward rolls, dive rolls, backward rolls, and cart-
joints and muscles will increase. This phase wheels fit here. You can do these singly and in
should last 6 to 10 minutes. At the conclusion series. Exercises in which you work with another
of this phase, your pulse rate should be checked person should follow the tumbling. "Buddy"
and should show an increase to 70% of age- exercises may be used here. Some buddy exer-
adjusted maximum heart rate. cises follow:
Some activities that will accommodate the
goals of phase 1 of the warm-up are the Reverse body lifts
following: Front bodylock lifting and turning
Buddy squats with partner on your shoulders
Light jogging
Cooperative pummeling for position
Skipping Head and arm position countered by a dip
Sliding sideways and lift "snake" action
Hopping Cooperative "mirror" techniques on your
Walking and striding feet
Arm circles
Review defensive par terre position by doing gut
Trunk rotation wrenches, exercising correct form with 50% re-
Shadow wrestling sistance. Work on lifting and countering the lift
Wrestling movements without a partner in the same manner.
Joint rotation This phase of the warm-up should last 10 to
12 minutes.
Phase 2
Mirror Techniques
Phase 2 of the warm-up sequence will increase
circulation to your entire skeletal muscles and As you begin to master your techniques, part-
joint system as you concentrate on a larger range ners may warm up and train by doing "mirror
of motion for the joints and muscles. This phase techniques." For a given time (e.g., 5 minutes),
should be 6 to 8 minutes long. you execute techniques with your partner, giv-
Some activities that fit phase 2 are the ing only the amount of resistance necessary to
following: make sure that each technique is executed cor-
rectly. It proceeds like this: Wrestler A executes
Pulling your knees to your chest a move. Wrestler B does the same technique;
Hurdlers' stretch then wrestler B does a technique and wrestler
A must do the same thing. As the wrestlers run
Crab stretching and rotation of joints through their repertoire of set-ups and tech-
Upper body press-up with hips on the mat niques, both wrestlers have the opportunity to
Back arches on hands and feet suggest new variations to each other and coach
Training Exercises and Activities 119
each other. This practice should be encouraged Two exercises that will help with back flexi-
and required so that both wrestlers can analyze bility utilize a wall. Stand 2 feet from the wall
and better understand how, why, and when with your back to it. Twist your trunk so that
various techniques are effective. you can touch the wall with both hands. Your
feet should remain in the original position. You
must turn both left and right.
Flexibility
Now use the wall to help develop an arch from down the wall. This will put you into a back arch
a standing position. Assuming the same posi- position. When you believe you have reached
tion as for the previous exercise, look straight your limit of flexibility, walk your hands back
back and touch the wall with both hands. Then up the wall.
move your hands alternately and progressively
A little more body movement associated with his back so that your feet touch the mat on the
arching is now needed. Your partner is placed other side of the wrestler on the mat.
on his hands and knees on the mat. You do a The wrestler doing the arching finishes the ex-
handstand at your partner's side, arching over ercise by coming to a standing position on the
side opposite the starting point.
122 Greco-Roman Wrestling
As your body control improves, you will be may be done from a handstand to the feet or
able to bridge over your partner and kick back from standing to a back arch over.
to the original starting position. This exercise
At this point, we can introduce arching from ing the other's wrist. Arch back toward the mat.
a standing position with the help of a partner. Your descent is controlled by your partner, who
You and your partner stand side by side facing assists in making sure the arching action is
opposite directions. Lock hands by each grasp- correct.
Practicing Techniques
Wrestling involves two live bodies. Every wres-
tler must become accustomed to controlling and
moving a live body that does not want to be con-
trolled or moved. Exercises and drills that help
you become familiar with this situation can be
an important part of daily practice.
To make sure that you cover all important
phases of wrestling, you can prearrange drills
and live wrestling situations to simulate the
problems of actual competition. Start in the par-
ticular lock, mat position, tactical situation, or
emotional and psychological climate that you
will encounter in competition. Be specific as to
what you are doing, how you are doing it, and
when it is to be done.
Lifting Drills
Lifting your opponent is a very important part
of Greco-Roman wrestling. You must incor-
porate lifting exercises into your daily practice
plan to develop your lifting ability. You can use
cooperative bodylock lifting drills to develop lift-
ing techniques, the backpedal into the beginning
of the back arch, the arch into a side throw into
a crash pad, and correct defensive posture for
the bottom man. Emphasize only one of these
in each drill sequence. In each case, the lifting
and movement pattern necessary to complete a
successful lift and throw should be emphasized.
Incorporate each of the following drills into live
wrestling sequences with full resistance.
In the standing position you must pummel
and adjust your body to secure a lifting position
so you can throw your opponent. On the mat,
bodylock your opponent and lift him so you can
handle his body more easily in the gut wrench
and, most importantly, lift him to where you can
arch and throw him.
Training Exercises and Activities 127
Hip Throwing
Making your opponent come over your hips or
shoulders also is a fundamental position-
movement sequence. Each wrestler assumes
identical over-under lock positions. From this
lock each wrestler will execute an arm throw or
a hiplock. You and your partner do the actions
alternately, with the emphasis on correct form.
Simulated Competition
Proper development requires that you focus
your skills and the simulated situations into an
effective game plan. You can do this by allow-
ing yourself to have actual competition-type
matches in practice. The matches should last as
long as those in actual competition, and you
should keep score. Require each wrestler to
referee and judge his teammates' matches. This
forces each wrestler to know the rules and,
perhaps even more important, to look at the ap-
plication of the rules from an official's per-
spective.
You should instruct wrestlers that the empha-
sis in these matches should be on analyzing an
Training Exercises and Activities 131
opponent, analyzing yourself, creating a game accommodate any landing so that you will end
plan to win, and sticking to the game plan. You up in a good wrestling position. Simple gym-
must have enough confidence in your training nastic activities can help you get a feel for your
and focus that you can just let the match hap- position as you move through the air and can
pen. These practice sessions are needed to test serve as part of the daily warm-up.
your preparation, to focus on broad and specif- Forward and backward rolls help to develop
ic goals, and to improvise as well as carry out body control and also serve to get the body ac-
a plan. customed to contacting the mat before practice.
Cartwheels and dive rolls over your partner who
is on his hands and knees can get you used to
Cross-Training Activities knowing where the mat is when your feet are
above your head. Front handsprings are also
Developing confidence in your ability to wres- valuable in helping athletes to develop spatial
tle effectively may begin with the confidence that awareness.
comes from the ability to direct your body to do Simple gymnastics will help you; you do not
various physical tasks not associated with nor- need to engage in complex, difficult gymnastic
mal daily movement. In selecting and organiz- activities. The time and skill required to do more
ing supplemental training that differs physically advanced gymnastics will quickly become counter-
from the act of wrestling, you must be aware of productive to the development of wrestling.
the value of dissimilar physical movement as
well as the opportunity to present intellectual
and emotional challenges that can strengthen Weight Training
your ability to cope with unfamiliar problems
and stress. This development can take place in Today, all athletes are involved in some form
an environment apart from wrestling. Lessons of weight training designed to enhance perfor-
learned can be readily applied. For example, mance. Weight training for wrestling is most ef-
problem solving and stress management are fective when the program features exercises that
universally applicable. are as close to the actual wrestling movements
The integration into the total wrestling plan as possible. In a program of this nature, free
of activities other than wrestling that develop weights and dumbbells seem to fit best.
strength, coordination, flexibility, cardiovascular Wrestling requires constant adjustment of po-
endurance, and total body awareness can be of sition. Your opponent is very rarely stationary.
significant value. A wrestler who develops Constant awareness of your optimal bio-
physical abilities that may not be sufficiently em- mechanical position in relation to your opponent
phasized and isolated in wrestling may then be and your own center of gravity is essential to
able to overcome related technical movements effective technique execution. Being able to
that have previously stymied him. In addition, maintain proper position and combat the bad po-
allowing wrestlers to perform a new activity that sition your opponent forces upon you requires
embraces movement patterns foreign to wres- strength. This is where weight training comes
tling helps them ease the emotional and intellec- into play.
tual intensity associated with serious high-level To build strength, the activity must overload
training. the muscle to the point of failure. This means
a very demanding and intense exercise program.
The weights used must stress the muscles to ex-
Gymnastic Activities haustion.
The flexibility and strength required by the un-
usual body positions associated with gymnas- Small Muscle Groups
tics also play a role in the unusual positions that
occur in wrestling. Balance, body control, and Wrestling uses most of the body's muscles at
awareness of the precise position of your body some time or another. The small muscle groups
in relation to your center of gravity and the floor of the arms almost always are constantly active.
is essential to tumbling events in gymnastics. The arms must be trained for strength and en-
This is also true in wrestling. durance. Sets of exercises that utilize heavy re-
When you lift your opponent or you are lifted sistance (70% of maximum weight that can be
from the mat, you must be able to anticipate and moved in one repetition), and a low number of
132 Greco-Roman Wrestling
repetitions (five or fewer) will build strength. Bicep curls may be done together or alternately.
You can build endurance by doing sets of repe- The palms of your hands may be forward or fac-
titions that are high in number (50 repetitions ing each other. Your elbows are held tightly
with a weight that is 50% of a 1-repetition maxi- against your sides. Move the dumbbell from
mum lift). your thigh to your chin to accommodate a full
It also is good to simulate pummeling move- range of motion. Do not swing the dumbbell to
ments with your arms while holding dumbbells. get it started.
A series of three 5-minute pummel sequences
with a 1-minute rest between sets is advised.
Deltoid side raises work the anterior and medial
parts of the deltoid muscles. Hold a dumbbell
in each hand. Start with your hands at your
sides. Raise the dumbbells in an arc out from
your sides until they meet over your head.
Return and repeat for the desired number of
repetitions.
CE 8ir^
Technique for: Biceps
Skill level: All wrestlers
Basic skill: Curling the dumbbells
Purpose: To strengthen the biceps
Prerequisite: Instruction in basic weight
training
Triceps extensions are done by gripping the Wrist curls work the muscles on the insides of
dumbbell and standing with it extended at arm's your forearms. Take an undergrip on the dumb-
length directly overhead. Keep your upper arm bells and hold them in front of you shoulder-
and elbow stationary. Lower the dumbbell along width apart. Place your forearms on a bench or
a semicircular arc to the top of your shoulder, table with your fists not supported by the bench.
allowing only your forearm to move. Reverse the Allow your fists to bend as far down as possible;
procedure and repeat the movement. You will even roll the dumbbell down your fingers. Curl
feel stress in your triceps. the dumbbells up as high as possible.
Squats are the best all-around lower body ex- vertebrae vertically aligned. Tighten your back
ercise. Place the barbell in a comfortable posi- and thigh muscles, and squat. Do not attempt
tion behind your head and across your to squat with more weight than you can handle,
shoulders. Place your feet a little more than and do not bounce up at the bottom of the squat.
shoulder-width apart with your toes slightly Because it is possible to do squats with heavy
turned out. Position your body with your head weights, you should always use a squat rack and
up, your hips under your shoulders, and your have two spotters working with you.
Lunges begin with the barbell in the same po- Leg curls can be done most efficiently on some
sition as for the squat. Stand with your feet form of leg apparatus. Lie facedown with your
parallel and shoulder-width apart. Step forward heels hooked under the top set of pads. Pull
with one foot as far as your balance will allow. your heels up to your buttocks. Bend your knees
Lower your center of gravity until the opposite as much as possible. Keep your body flat to the
knee barely touches the floor. Recover to the bench and work through a full range of motion.
standing position and repeat with the other leg.
In the extended position, your front knee should
be ahead of your foot.
The power clean begins by standing with your your chest with a slight knee dip, then catch the
feet shoulder-width apart and grasping the bar barbell on your chest. Keep your body erect and
at about shoulder width with your palms toward allow the bar to roll down your hips. Stop here.
your body. Dip your hips, flatten your back, and Then squat the barbell back to the floor and
keep your head up. This is the basic position for repeat the exercise. Because you are moving a
pulling a weight from the floor. Start the lift with heavy weight through space, balance is impor-
your leg muscles, then follow through with your tant, and this exercise should be done with a
back and then arm muscles. Raise the bar up to weight that you can handle.
É ^
i &
138 Greco-Roman Wrestling
The snatch begins from the same position as The dead lift starts when you assume the basic
the power clean but with your hands spread pulling-lifting position. Place your hands on the
much further apart. Start the lift in the same se- bar shoulder-width apart with one hand in an
quence as the power clean. Pull the bar as high overgrip and one in an undergrip. Pull the bar
as possible and squat under the bar, catching up until your body is fully erect and your arms
it with your arms extended, locked, and straight. are extended, holding the bar close to your hips.
Complete the lift by standing up. Return the bar Return the bar to the floor and repeat.
to the floor in the same manner as for the power
clean. About 50% of the weight you used for
your power clean should be about right for this
exercise.
The bench press is executed by lying on your The incline press is a variation of the bench
back on a bench and taking a barbell off the rack press done from an inclined surface. All the in-
at arm's length directly above your chest. Any structions for the bench press apply. You might
grip along the bar with the hands in an over- have problems getting the bar to go up at first,
grip is acceptable. The varied grips will stress but you will overcome that with practice.
different areas of the muscles involved. Lower
the bar straight down until it touches midchest,
and press it up to arm's length. Repeat this
action.
The decline press is a bench press with the you plan to use against your likely opponents.
bench declined so that your head is below your This is a necessary focus. Your physical train-
feet. All of the mechanics are the same as for ing will be designed to prepare you for a very
the bench press. specific degree of intensity for a very specific
amount of time. This means that you must be
in top physical shape. You must train hard and
intelligently. When you reach top condition, you
must allow for enough time between that point
and the competition for your body and mind to
be rested and focused on the competition.
After the competition, you will experience a
natural emotional letdown. Your body will be
fatigued, possibly injured, and most certainly
sore. Your training will be in a recovery phase
both physically and mentally. It is a time to re-
store relationships with your friends and loved
ones who support you in your efforts. Give back
to those who gave to you; reestablish the balance
in your life.
After a short time you will evaluate your per-
formance and make plans for improvement. You
will regenerate your motivation and focus on
new goals. At this stage you will begin to reac-
tivate your work schedule. Weight training,
technique and strategy improvement, running,
and cross-training activities will fill your time.
This is a logical period to seek out developmental
competitions to test your new training and scout
your competitors to see where you are in rela-
tion to them. You now begin your training pro-
gram so you will peak mentally and physically
at the next important competition.
Technique for: Chest The frequency of your training should vary
Skill level: All wrestlers only as competitions, injury, or needed rest
periods dictate. Weight training must become
Basic skill: Pushing a weight away from the part of your life as it fits in with your technical,
body at an angle physical, and psychological development to help
Purpose: To strengthen the lower pectoral you become a totally healthy athlete.
muscles
Prerequisite: Instruction in basic weight train- Running
ing
Running is necessary for every athlete. The com-
Coordinating Weight Training plete development of sound cardiovascular en-
Your weight training regimen must be coordi- durance is essentially impossible to achieve
nated with the yearly competition schedule. Ob- without running or an activity that closely ap-
vious spaces between competitions (peaks) proximates it. Running is the most natural and
provide an opportunity for a specific program convenient method available. You can easily
designed to meet the individual needs of each regulate and evaluate the intensity and length
athlete. The training program must take place of exercise by applying the criteria of time, dis-
year-round to maximize the benefits and mini- tance, and difficulty. There are almost unlimit-
mize reversibility of training. Training intensity ed running activities that you can do, such as
will vary throughout the year. When you are jogging, aerobic exercise to music, obstacle
preparing for a competition, success in that com- courses, hill climbing, stair running, sprinting,
petition is the main goal. Your technical train- interval running, and running against resistance
ing will include the techniques and strategies as with a harness.
Training Exercises and Activities 141
Begin with jogging and low- to medium- you can run 2 miles in 14 minutes, begin some
intensity distance running that will form a con- sprint training. All times are adjustable up or
ditioning base and precede high-intensity down, depending on your size and weight. Take
anaerobic sprints. Begin jogging a half mile and into account whether your running is already
increase to 2 miles a day, then increase the in- well or poorly developed. Now you can begin
tensity of the activity by running a half mile for a run and sprint combination workout (see Chart
time. Increase the time running to 2 miles. When li-
The run and sprint workout program is designed to prepare you during the weeks prior
to a major competition. After the competition, rest and a readjustment of the training program
are in order.
Day 1 Run 1 mile, rest 5 minutes, then sprint 4 x 100 yards with a 30-second rest be-
tween sprints.
Day 2 Run .5 mile, rest 2.5 minutes, then sprint 4 x 220 yards with a 30-second rest be-
tween sprints.
Day 3 Run 440 yards, rest 2 minutes, then sprint 8 x 200 yards with a 1-minute rest be-
tween sprints.
Building up to running sprints should follow ning intensity that precedes a competition.
a pattern similar to that of the buildup of wres- When you are in the early stages of preparing
142 Greco-Roman Wrestling
for a competition and the degree of intensity in Arm circles while walking
daily practice is nominal, distance running fits Deep breathing while walking
the workout plan. As the intensity of each prac-
tice increases and you focus more on actual Walking, (lunging, or striding)
match situations and match times, you should Rhythmic limb movements while walking
adjust your running program to sprint running
Phase 2 should be about 5 minutes long and
and anaerobic conditioning. When the peaking
be designed to maintain the heart rate at 70%
segment of the practice plan begins, you should
of the age-adjusted maximum. Waste products
stop running because it is a major glycogen
will move from the intercellular system to the
burner. Muscle glycogen, which is the major
vascular system during this phase.
supplier of fuel during prolonged exercise, pro-
vides a very significant amount of the adeno- Activities for this phase might include the
sine triphosphate (ATP) utilized in intense, short following:
term exercise such as wrestling. Running
Resting immediately before competition is es- Skipping rope
sential for the effect of your hard training to fully
manifest itself in maximum wrestling Cycling
performance. Cooperative pummeling
After a difficult competition, a short rest period Skipping
away from wrestling is a good idea. You can use Fast walking
jogging and low-intensity running to maintain
your training during this period. Other activi- The third stage of the cool-down is designed
ties such as basketball, soccer, or swimming may to lengthen the muscles to their maximum range
also be valuable. of motion. This segment should be 4 to 5
As is the case with all training activities that minutes long. You can use all accepted stretch-
vary from your main event, running must work ing exercises here.
in harmony with other nonwrestling training ac- Stretching activities include the following:
tivities. Running must also work in harmony
with all your wrestling training activities to sup- Hurdler's stretch
plement and expand your mastery of skills that Prone press-ups
make you a total, successful wrestler. Arm and trunk rotation
Back and front bridging
Cool-Down Hip and thigh stretches
The stretches can be followed by a massage to
Immediately after the day's practice, you should end the training session.
do a series of "cool-down" exercises to help the This part of the daily practice is a cool-down,
body return to normal. The activity should not a cool-off. Lead your body gradually from
gradually return your heart rate to a normal rest- a state of high activity to a normal resting con-
ing state. The activity will shift the body from dition.
an anaerobic to an aerobic state of energy expen-
diture. You will maintain maximum oxygen in-
take while decreasing oxygen usage. Extend Putting It All Together
your muscles to the maximum range of motion
as waste products move from intercellular tis- Structuring your overall training program allows
sue to the vascular system. you to not only prepare yourself to perform your
Cool-down can be divided into three phases. very best at a particular meet, but also to sur-
The first is control of respiration and heart rate. pass your best when situations demand it. Train-
This phase lasts until the heart rate returns to ing should be an intelligent, orderly preparation
70% of age-adjusted maximum heart rate and with a definite structure and purpose for both
respirations are below 20 per minute. team and individual goals. Using your time ef-
Activities for phase 1 are as follows: ficiently will best prepare you for success.
Tables 8.1 through 8.5 offer 1-week, 9-day,
Slow jogging 5-month, and 1-year sample training plans that
Fast walking you can tailor to your needs and goals.
Training Exercises and Activities 143
01
Rest Low intensity— 4% over
> volleyball or basketball
>> (active rest);
(S pulse at 25 or less for
D 10 sec
c Eat small meals three hours before competition begins and drink water between sessions
_o
01
0.
E
0
U
146 Greco-Roman Wrestling
7 Low Wrestle for the official; make it easy for him to make the call you want
Wrestle in groups of 3 people, change every 2 min—emphasis on mat position and regular
8 Medium scoring attempts throughout the match
9 High Four all-out matches with a referee; heavy weight training
11 Low Drill on 1-pt scoring techniques & the setups for them; arm drags
15 Low Par Terre technique—drill gut wrench & counters; defense on the mat
17 High Four all-out matches with required 30-sec Par Terre every 1 min
20 Medium Technique matches—emphasis on Par Terre lifting & countering the lift
27 Low Select a specific technique—work on the scoring positions for that technique
28 Medium Wrestle cooperative matches using techniques from the previous day
2 Medium
3 High
5 Medium
6 High
7 Active rest
8 High
9 Active rest
10 Medium
11 High
13 Medium
14 High
15 Active rest
16 Active rest
17 High
18 High
Major Competition
19 High
20 High
21 Rest
22 Rest
Rest & Heal
23 Rest
24 Rest
25 Low Evaluate the past competition—view film, look for areas to improve
29 Medium Start technique matches, get back to running & weight training
2 Medium
3 High
5 Medium
6 High
7 Active rest
8 High
9 Active rest
10 Medium
11 High
13 Medium
14 High
15 Active rest
16 Active rest
17 High
18 High
Major Competition
19 High
20 High
21 Rest
22 Rest
Rest & Heal
23 Rest
24 Rest
25 Rest
26
27
28
Begin New Training Cycle
29
30
31
152 Greco-Roman Wrestling
January July
a. Develop a new technique. a. Evaluate the past 6 months and make a plan for the
b. Build strength through heavy weight training for next 6 months.
power. b. Build strength through weight training.
c. Develop body awareness and flexibility through c. Make a specific short-term list of things to accom-
gymnastics. plish.
d. Teach some youth wrestling to develop your d. Review fundamental positions and tactics.
analytical approach to wrestling.
August
February
October
a. Work on creating openings to score.
b. Work on developing and following specific game
plans. a. Compete in tournaments.
c. Participate in local competitions. b. Work on making your thought and your action one.
d. Adjust your wrestling techniques as needed. c. Think of total matches, not specific techniques.
April November
a. Prepare for a specific tournament (usually the a. Compete in as many matches as possible.
national tournament). b. Push to a new level of endurance; work on tech-
b. Set specific goals for the tournament. nique and determination.
c. Go to the tournament. c. Push to the point of failure in everything you do.
d. Evaluate your performance and your opponents'.
December
May
a. Go cross-country skiing.
a. Participate in competitions—domestic and foreign b. Enjoy family and the holidays.
if possible.
b. Study the efficient scoring positions and the
techniques that are effective from each position.
June
January June
a. Develop a new technique and strategy. a. Rejuvenate yourself by taking a short break from
b. Build strength through weight training. wrestling.
c. Develop body awareness and flexibility through b. Play other sports.
gymnastics. c. Develop aspects of yourself that do not directly
d. Teach some youth wrestling to develop your relate to wrestling.
analytical approach to wrestling.
July
February
March
a. Begin technique and strategy training.
b. Seek out and train good workout partners.
a. Work on creating openings to score. c. Study films of yourself and your opponents.
b. Work on specific game plans to beat a specific type d. Critique your wrestling as an opponent would and
of wrestler. strengthen your weak points.
c. Participate in local competitions and evaluate your
performance.
d. Adjust your wrestling techniques as needed. September
November
a. Participate in as many competitions as possible.
b. Make every effort to participate in foreign competi-
tion. a. Compete in as many hard matches as possible.
c. Study the efficient scoring positions and the b. Push to a new level of endurance; work on tech-
techniques that are effective from each position. nique and determination.
c. Push to the point of failure in everything you do.
December
a. Go cross-country skiing.
b. Enjoy family and the holidays.
Training Exercises and Activities 155
American par terre—The style of mat wrestling bridge over—To move from a front bridge po-
common in United States colleges and high sition to a back bridge position (or from back
schools that emphasizes control of your oppo- to front) by kicking your feet over along the
nent on the mat. long axis of the body (the back).
arm bar—Any armlock that uses an opponent's butterfly lock—A lock where you lock your arms
arm as a lever to turn him to his back. by hooking your hands on the wrist of your
arm drag—A method of pulling your opponent's opposite arm.
arm in an attempt to throw him off balance and collar elbow lock—A lock where you have one
secure an advantage. hand on the back of your opponent's neck (col-
attack—Any movement against your opponent lar) and the other on his elbow.
designed to score points. counterattack—Movement after an opponent's
backpedal—The act of moving backward in a attack that is designed to score points.
small circle as you lift an opponent from the counterthrow—A throw to counter an oppo-
mat. nent's attempted throw.
back-step hip punch—The foot and hip move- double-leg attack—An attack designed to secure
ment that precedes a hip throw. Your back is both of your opponent's legs with both of your
turned to your opponent and he is levered over arms while you both are standing, allowing
your hip. you to take him to the mat.
bear hug—A position where both your arms are double overhook armlock—A lock where both
around your opponent's trunk, with your your arms are over and around both of your
hands locked while facing him. opponent's arms, with your hands locked at
blocking—A defensive pummeling the sole in- his chest.
tent of which is to prevent your opponent from double underhook—A position where you have
scoring. It is used when the score, time of both of your arms under your opponent's
match, or strategic situation dictates a posture shoulders around his trunk with your hands
to preserve a lead. locked.
157
158 Glossary
duck under—To move your head under your op- hook lock—A lock where the fingers of both
ponent's shoulder and between his upper arm hands are curled to form a hook. The hands
and body to secure an advantage. are then hooked together, forming a lock.
fireman's carry throw—A method of taking your inside position—A position where your arms are
opponent to the mat by means of an arm- and between your opponent's arms and his body.
bodylock that utilizes a duck under. lateral drop—A throw from standing that takes
folkstyle—The style of wrestling contested in your opponent off balance to the side and pulls
any area or country that is part of a country's and turns him so that he hits the mat on his
culture and is not governed by international back.
rules. In Japan it refers to sumo wrestling, and lift—A maneuver where you lift your opponent
in the United States, high school and collegiate from the mat.
wrestling are examples.
mutual off balance—A position where you are
folkstyle standup—An escape maneuver used locked up with your opponent and both of you
in American folkstyle wrestling where the man are off balance.
in the disadvantage position on the mat comes
Olympic styles—Freestyle and Greco-Roman
to his feet to secure a neutral position.
wrestling are the common competitive styles
freestyle—One of the two styles of wrestling whose rules govern world and Olympic
contested in the Olympic Games; a "catch-as- championships. Freestyle is most like Ameri-
catch-can" style not limited in style of attack can folkstyle in that attacks are allowed on any
by clothing (judo) or an area of the body part of the body. Greco-Roman is radically
(Greco-Roman). different in that attacks are allowed only above
functional comfort zone—The wrestling position the waist. The legs are used only for support
in which movement is most efficient or in and balance.
which a particular wrestler is most comfortable. one-half salto change—Refers to when a wres-
Greco-Roman—The name given to one of the tler, after beginning a double armlock salto
two styles of wrestling contested in the Olym- throw, changes to another technique halfway
pic Games. It is a throwing sport that employs through the original move.
upper bodylocks and allows holds or grips only one-quarter nelson—A head- and armlock where
above the waist. the hand around your opponent's arm is
gut wrench—A par terre scoring maneuver locked to the wrist of your other hand, which
where the attacker has his arms locked around is holding your opponent's head down.
his opponent's trunk. He turns his opponent's over and under position—A lock with your op-
back to the mat by holding his opponent tight ponent where one of your arms is under his
to his body and bridging over in a direction arm and the other is over his other arm while
perpendicular to the long axis of both bodies. you are standing chest to chest.
hand-to-hand palms-down lock—A lock around overhook—To lock an opponent's arm from the
your opponent's trunk where your hands are outside.
locked; with the palms of both hands toward
the mat. post—To cause a part of a wrestler's body to re-
main in a fixed position. Posting is most com-
head and arm—A lock where both your arms are monly applied to an opponent's leg, arm, or
around your opponent's head and one arm. head.
headlock hip throw—A head- and armlock that primary attack areas—The areas of an oppo-
allows your opponent to be thrown with a
nent's body that are most vulnerable.
back-step hip punch maneuver.
head under arm bridge back—A maneuver pummeling—Contacting and moving your op-
where you throw your opponent to the mat ponent to secure a position of advantage.
from a standing position when your head is ride—To control and keep your opponent on the
under his armpit. mat in American folkstyle.
high-crotch single leg—A single-leg attack that sagging bodylock—A front bodylock position
focuses on the point where the leg joins the common in Greco-Roman wrestling where one
body. of your legs is between your opponent's legs,
Glossary 159
and you pull him to a position over your body ting position on the mat to throw his opponent
before the throw. off balance and escape.
salto position—A standing double armlock po- slide by—To move to the side of your opponent
sition performed while you are facing your op- while in contact and slide around him to a po-
ponent. sition of advantage.
scramble—To move quickly while in a neutral snap down bear hug—A maneuver where you
position to secure a position of advantage. take your opponent directly to his back from
secondary attack areas—Those areas of the body a bear hug position.
vulnerable to attack at the joints of the limbs. step-around bodylock—A front bodylock throw
secure a lock—To lock your arms around some where the thrower steps around his opponent
portion of your opponent's body. after he has secured his lock to put his oppo-
nent offbalance and throw him.
shuck by—To move your opponent quickly by
your body, making him lose balance. two-on-one armlock—A position where two of
side roll—An American folkstyle technique your arms are holding one of your opponent's
where you roll your opponent from a position arms.
of advantage over your body to a position of underhook—To have your arm deep between
disadvantage. your opponent's upper arm and body with
your hand over his shoulder.
side whizzer—An armlock in which you are side
by side with your opponent. wedge—The basic standing wrestling position.
sit-through—An American folkstyle escape tech-
nique where the bottom man comes to a sit-
/
Index
161
162 Index
"Bill Martell's book . . . is a very good text incorporating the techniques of Greco-Roman to
American folkstyle and, as important, promoting Greco-Roman as one of the Olympic
wrestling styles."
Greg Strobel
Wrestling coach
Team Foxcatcher
Get the edge on the competition with Greco-Roman • instructions on how to combine the techniques into
Wrestling! Author Bill Martell, a team leader and powerful scoring opportunities on the mat;
assistant coach of the 1992 Olympic Greco-Roman • specifics on how Greco-Roman can be used to refine
wrestling team, presents championship techniques other styles of wrestling and which moves best
that will help wrestlers—no matter what style they complement aggressive folkstyle and freestyle
prefer—expand their knowledge of the sport and techniques; and
develop a more power-intensive, controlled, and com- • a training program with sample workout calendars
petitive style. and more than 25 weight training and flexibility
exercises.
The book includes
Coaches and wrestlers at the high school, college, and
• more than 500 photos illustratirjg Greco-Roman club levels will find this book to be an excellent
fundamentals and Olympic-level scoring moves; reference that will help wrestlers of any style refine,
• attacking and counterattacking moves; strengthen, and broaden their wrestling skills.
ISBN D-»7322-40S-b
52195