Puroresu is the popular term for the predominant style or genre of professional wrestling that has developed in Japan.
The term comes from the Japanese pronunciation of "professional wrestling" (プロフェッショナル・レスリング), which is shortened to puroresu ("purofesshonaru resuringu").
The term became popular among English-speaking fans due to Hisaharu Tanabe's activities in the online Usenet
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Growing out of origins in the traditional American style of wrestling, it has become an entity in itself.
Despite the similarity to its American counterpart in that the outcome of the matches remains predetermined, Japanese pro wrestling is distinct in its psychology and presentation of the sport.
It is treated as a legitimate fight, with fewer theatrics; the stories told in Japanese matches are about a fighter's spirit and perseverance.
In strong style, the style most typically associated with puroresu, full contact martial arts strikes and shoot submission holds are implemented.
The first Japanese to involve himself in catch wrestling, the basis of traditional professional wrestling, was former sumo wrestler Sorakichi Matsuda.
There were subsequent attempts before and after World War II to popularize the sport in Japan, but these generally failed until the advent of its first big star, Rikidōzan, in 1951, who became known as the "father" of the sport. Rikidōzan brought the sport to tremendous popularity with his Japanese Wrestling Association (JWA) until his murder in 1963.
Following his death, Puroresu thrived, creating a variety of personalities, promotions and styles.
It has also created a mass of other cultural icons in Japan including: Giant Baba, Antonio Inoki, Keiji Mutoh/The Great Muta and Mitsuharu Misawa.
Throughout the years, a number of promotions have opened and closed, but a few have persisted to remain the most popular and thriving companies: New Japan Pro Wrestling is currently considered by many as the top promotion with All Japan Pro Wrestling and Pro Wrestling Noah as viable competition. Japan also has countless shows on what is considered the independent circuit, which still see great success despite their inability to compete with bigger promotions.
Despite some similarities to the much more popular style of professional wrestling in the United States, Japanese wrestling is known for many differences from the Western style. Puroresu is known for its "fighting spirit" and the wrestlers are known for their full contact strikes.
A lot of the wrestlers in Japan have some degree of knowledge in many different martial arts and wrestling styles. Because of this, there are usually doctors and trainers at ringside for assisting the wrestlers after a match.
Most matches have clean finishes and many of the promotions don't use any angles or gimmicks. Japanese wrestling is also known for its relationship with fellow mixed martial arts promotions.
Wrestling and martial arts icon Antonio Inoki usually organizes wrestling matches and MMA fights on the same card. Puroresu still remains popular and it draws huge crowds from the major promotions. With this and its relationship with other martial arts disciplines, the audiences and wrestlers treat puroresu as a combat sport.
Rules
Puroresu has a variety of different rules, which can differ completely from wrestling in other countries. While there is no governing authority for puroresu, there is a general standard which has developed. Each promotion has their own variation, but all are similar enough to avoid confusion. Any convention described here is simply a standard, and may or may not correspond exactly with any given promotion's codified rules.
General structure
Matches are held between two or more sides ("corners"). Each corner may consist of one wrestler, or a team of two or more. Most team matches are governed by tag team rules (see below). One notable difference from North American and, in recent years, European professional wrestling is that puroresu rarely has matches between more than two parties.
The match is won by scoring a "fall", which is generally consistent with the analogous concept in other countries:
- Fall, pinning an opponent's shoulders to the mat for the referee's count of three.
- Give up, or submission victory, which sees the wrestler either tap out or verbally submit to their opponent.
- Knockout, the failure to regain composure at the referee's command
- Ring out, the failure of a party to return to the ring at the referee's command, which is determined by a count of twenty.
- Disqualification, the act of one wrestler breaking the rules.
Additional rules govern how the outcome of the match is to take place. One such example would be the Japanese Universal Wrestling Federation, as it does not allow pinfall victories in favor of submissions and knockouts; this is seen as an early influence of mixed martial arts, as some wrestlers broke away from traditional wrestling endings to matches in favor of legitimate outcomes. Another example is that most promotions disallow punches so a lot of wrestlers utilize open handed strikes and stiff forearms; this rule was also applied in the early stages of Pancrase.
The dominant styles of Japanese professional wrestling were set in place by the two dominant promotions in Japan. New Japan Pro Wrestling, headed by Antonio Inoki, used Inoki's "strong style" approach of wrestling as a combat sport. Wrestlers incorporated kicks and strikes from martial arts disciplines, and a strong emphasis was placed on submission wrestling.
Many of New Japan's wrestlers including top stars such as Shinya Hashimoto, Riki Choshu, and Keiji Mutoh came from a legitimate martial arts background. All Japan Pro Wrestling, under the direction of Shohei Baba, used a style referred to as "King's Road." The "King's Road" style was in large part derived from American wrestling, particularly the style of top wrestlers in the National Wrestling Alliance, such as Dory Funk Jr., Terry Funk, and Harley Race, all of whom wrestled for Baba in Japan. As such, "King's Road" placed a heavy emphasis on working of holds, brawling, and the storytelling elements of professional wrestling.
Due to the rise of the "shootwrestling" promotions in the early 1980's, promising a decisive winner and loser at a time when the two mainstream promotions protected their top stars with screwjob or double count-out finishes, the major promotions have usually maintained a format of only clean finishes since then.
Throughout the 1990s, three individual styles -- shoot style, lucha libre, and hardcore -- were the main divisions of independent promotions, but as a result of interpromoting, it is not unusual to see all three styles on the same card.
A match is fought in a square ring surrounded by three ropes, very similar to a boxing ring. Turnbuckles holding the ropes in the corners can be covered either individually (each turnbuckle has its own padding) or collectively (a single padding covering all turnbuckles).
Wrestlers often run into the ropes themselves or throw the opponents against them, employing the ropes' elasticity for his next attack. Additionally, there are attacks that utilize the squareness of the ring, including climbing onto a corner and jumping off onto the opponent, or pushing the opponent out of the ring from the corner.
Other kinds of rings may be specified by individual rules. A ring may have barbed wires instead of ropes, have six sides of ropes instead of four, have explosives set on the boundaries, among other gimmicks. Some small, obscure independent promotions which rarely draw above 100 fans to its cards are so devoid of resources that they have to use amateur mats in place of an actual ring. Examples of these are Koki Kitahara's Capture International (shoot style) and Mr. Pogo's WWS.
Puroresu done by female wrestlers is called joshi puroresu or joshi puro for short. (女子プロレス). Female wrestling in Japan is usually handled by promotions that specialize in joshi puroresu, rather than divisions of otherwise male-dominated promotions as is the case in the United States (the only exception was FMW, a men's promotion which had a small women's division, but even then depended on talent from women's federations to provide competition). However, joshi puroresu promotions usually have agreements with male puroresu promotions such that they recognize each others' titles as legitimate, and may share cards.
All Japan Women's Pro-Wrestling was the dominant joshi organization from the 1970s to the 1990s. AJW's first major star was Mach Fumiake in 1974, followed in 1975 by Jackie Sato and Maki Ueda, known as the "Beauty Pair". The early 1980s saw the fame of Jaguar Yokota and Devil Masami, major stars of the second wave of excellent workers who took the place of the glamour-based "Beauty Pair" generation.
That decade would later see the rise of Chigusa Nagayo and Lioness Asuka, known as the "Crush Gals", who as a tag team achieved a level of unprecedented mainstream success in Japan, unheard of by any female wrestler in the history of professional wrestling all over the world.
Their long running feud with Dump Matsumoto and her "Gokuaku Domei" ("Atrocious Alliance") stable would become extremely popular in Japan during the 1980s, with their televised matches resulting in some of the highest rated broadcasts in Japanese television as well as the promotion regularly selling out arenas.
It was during the 1990s that joshi puroresu attracted much critical acclaim internationally, and several classic matches during these era competed by select joshi wrestlers were awarded 5-stars by the American wrestling publication Wrestling Observer Newsletter. Notable joshi wrestlers of the 1990s include Manami Toyota, Bull Nakano, Akira Hokuto, Aja Kong, Megumi Kudo, Shinobu Kandori, Kyoko Inoue, Takako Inoue (no relation to the former), Dynamite Kansai, and Mayumi Ozaki.
Primary differences between joshi and American women's wrestling is the depiction of women in a non-sexualised way and that often the audience at joshi promotions will have a large proportion of female fans. Female wrestlers with natural beauty, such as Mimi Hagiwara or Takako Inoue may show off their beauty in non-wrestling related media, such as photobooks, where they are treated no different from tarento and gravure idols