US Wrestling Syllabus

WRESTLING
SYLLABUS
f/N
by
STAN DZIEDZIC
Technical demonstration by the
NATIONAL WRESTLING STAFF
THE
UNITED STATES
WRESTLING
SYLLABUS
THE
UNITED STATES
WRESTLING
SYLLABUS
by
STAN DZIEDZIC
Technical demonstration by the
NATIONAL WRESTLING STAFF
A publication of Leisure Press.

P.O. Box 3, West Point, N.Y. 10996
Copyright 1983 by Leisure Press
All rights reserved. Printed in the U.S.A.
No part of this publication may be reproduced
or transmitted in any form or by any means
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Library of Congress Card Number: 81-85635
ISBN: 0-88011-014-7
Cover, book design, and typesetting
by Diana J. Goodin
G>
LEISURE PRESS
P.O. BOX 3
WEST POINT, N.Y. 10996
TABLE OF CONTENTS
Contributing Technicians
Acknowledgement
Introduction
10
Preface
11
Foreword
13
1 Mastering Wrestling Technique
14
2 Strategy
17
3 Tactics by Ed Yarovinsky
19
4 Stance
25
5 Motion
29
6 Breaking Opponent's Balance
31
7 The Tie-Up and Breaking of the Tie-Up
33
8 Breakdowns from Behind
61
9 Low Single Leg
103
10 Creating Favorable Conditions for the Single Leg
133
11 Finishes to the Single Leg Takedown
143
12 Single Leg in its Entirety: Creating Favorable Conditions, Attacking and Finishing
195
C O N T R I B U T I N G T E C H N I C I A N S MEMBERS OF THE AAU NATIONAL WRESTLING COACHING STAFF

DON BEHM:
GENE DAVIS:
AUTHOR, STAN DZIEDZIC:
NAAU Champion1973, 1974

(Most Outstanding Wrestler1973)
Tbilisi Champion1970
Pan American Champion1971
World Silver Medalist1969, 1971
Olympic Silver Medalist1968
USA/AAU Elite Freestyle Coach1982
NCAA Champion1966
NAAU Champion1971, 1974, 1975
Olympic Bronze Medalist1972
USA/AAU Junior World Coach1973
USA/AAU Pan American Coach1979
USA/AAU Senior World Coach1981
Head Wrestling CoachAthletes in Action
NCAA Champion1971
World Cup Champion1975, 1977
Olympic Bronze Medalist1976
World Champion1977
Amateur Wrestling News
"Man of the Year"1980
Vice-President of FILA Coaches
Commission
National Wrestling Coach
THE UNITED STATES WRESTLING SYLLABUS
DAN GABLE:
RUSS HELUCKSON:
JIM HUMPHREY:
NCAA Champion1969, 1970

NAAU Champion1969, 1970
Pan American Champion, 1971
World Champion1971
Olympic Champion1972
USA/AAU World Cup Coach1977, 1978,
1979, 1980, 1981, 1982
USA/AAU Senior World Coach 1977,
1978, 1979
USA/AAU Olympic Coach 1980
Head Wrestling CoachUniv. of Iowa
NAAU Champion1973, 1975, 1976,

1979, 1980
Tblisi Champion1974
Pan American Champion1971, 1975, 1979
World Cup Champion1978
World Silver Medalist1979,
Bronze Medalist1971
Olympic Silver Medalist1976
USA/AAU Junior World Freestyle
Coach1981
Head Wrestling CoachUniv. of Wise.

(Most outstanding Wrestler1977, 1980)
Pan American Bronze Medalist1975
World Silver Medalist1977
USA/AAU Elite Freestyle Coach1980
USA/AAU Junior World Coach1981
National Wrestling CoachCanada
BEN PETERSON:
CONTRIBUTING TECHNICIANS
Foreign Guest Contributing Technicians

ION BACIU:
ED YAROVINSKY:
Holds Master of Sport degree from Russia
Russian National Champion
Currently U.S. Citizen
NCAA Champion 1971, 1972

NAAU Champion 1973, 1976, 1977, 1978
Pan American Champion1975
World Cup Champion 1980
World Bronze Medalist1973
Olympic Champion 1972,
Silver Medalist1976
Head Wrestling CoachMaranatha
Baptist Bible College
National Champion of Romania

European Medalist1966, 1970, 1971, 1972
Olympic Silver Medalist 1968
World Champion 1967
ACKNOWLEDGEMENT
am grateful to Ion Baciu, Don Behm, Gene Davis,

Dan Gable, Russ Hellickson, Jim Humphrey, and
Ben Peterson for their demonstration of the techniques in the Syllabus. Their excellent technical
skills were invaluable. I would also like to express
my gratitude to Ed Yarovinsky for contributing the
section entitled Tactics.
My greatest debt in preparing the manuscript
goes to Ted Reese. His command of the English
language coupled with his comprehension of the
wrestling holds made him an excellent candidate for
editorial comment; a position he filled most competently.
The text of the book was typed accurately and efficiently by Nancy Bottolfsen and Mary Bowder. I am
also grateful to Don Krone for his readily available
editorial comments and to Joe Scalzo for his encouragement and valuable suggestions.
Further, I would like to thank those men in the
AAU Wrestling Division who were the initiators of
the National Syllabus concept, and to Sun Co. who
in part made this project possible by supporting the
National Wrestling Coaching Program.
Finally, thanks go to my wife Arlene and three

children Jodi, Katie, and Tommy for tolerating with
the Syllabus that filled countless hours of our time
together. As always, my wife's unfailing encouragement made the completion of the book possible.
INTRODUCTION
he calibre of the participants in the sport of

wrestling is constantly improving. This improvement is in part the result of better training methods
and revised wrestling techniques and tactics. In the
past thirteen years ten United States wrestlers, Rick
Sanders, Fred Fozzard, Dan Gable, Wayne Wells,
Ben Peterson, Lloyd Keaser, John Peterson, Stan
Dziedzic, Lee Kemp and Chris Campbell have won
gold medals in either the Olympic or World Championships. These wrestlers and others have made
noteworthy additions to the technique and tactics of
wrestling in the United States. Each of these
wrestlers, at one time, was both a composer and a
performer of his own compositions. For this reason
each had his own personal repertoire unlike the
others. After all, can one compare the wrestlers Rick
Sanders and Dan Gable? A separate style and
arsenal of technical skills are what characterize
each of them.
What does this mean to other wrestlers in the acquisition of wrestling skills? It means that each
wrestler should develop the style andtechnical skills
most favorable to his individual qualities.
The purpose of The U.S. Wrestling Syllabus is to

capture and disseminate the best techniques as
they exist today. A great deal of time and effort has
gone into producing The U.S. Wrestling Syllabus. It
started several years ago with the committee that
determined the outline, content, and format of the
syllabus. After our most successful wrestlers were
photographed executing the most effective techniques selected for the syllabus, the text was finally
organized and produced.
PREFACE
he ideal wrestler would have a variety of physical and mental qualities. He would be as strong
as Paul Anderson (Olympic weight lifting champion),
have as much endurance as Frank Shorter (Olympic
marathon champion), be as dexterous as Kurt
Thomas (World gymnastic champion), have the flexibility of Olga Korbut (Olympic gymnast champion),
have the daring and decisiveness of Sugar Ray
Leonard (Olympic boxing champion), and have the
tactical forethought of a Bobby Fischer (World
chess champion). Naturally, all these characteristics would be embodied in specific wrestling
techniques. Unfortunately, the wrestler hasn't been
and probably never will be born with the combination of all these qualities.
There are numerous examples, however, where a
wrestler with the excellent development of any one
of these qualities, such as strength or endurance
coupled with the proper tactics and techniques, has
become World or Olympic champion. A wrestler can
compensate for the lack of certain physical qualities
with the practical mastering of technique. The practical mastering of technique makes the wrestler ap-
pear faster, more agile, more enduring, stronger,

more daring, and more decisive. For example, a
wrestler who is technically well prepared utilizes,
simultaneously or sequentially, so many muscle
groups, that in competition he always appears more
powerful than even his stronger opponent. Also, a
technically well-prepared wrestler uses less energy
because he does not bring into play any unnecessary muscle groups and does not strain
himself because he has many ways to neutralize an
unexpected attack. The practical mastering of
technique allows a wrestler to become less tired and
objectively to seem to have greater endurance and
strength.
When a wrestler masters a large number of
technical elements he also becomes more agile and
is able to coordinate his actions with quickly changing situations. The proper technique gives a
noticeable gain in speed because it allows for maximum rhythm of the working muscles. This maximum rhythm of the working muscles is one of the
major factors guaranteeing speed of movement or,
as the wrestlers say, "sharpness." Further, the
12
technically trained wrestler is not afraid of complicated situations and goes after holds with no
hesitation.
Even a wrestler with excellent physical development must have a wide variety of technical skills to
develop a winning strategy and to overcome his opponent's resistance. The wrestler who has mastered
techniques has a more pronounced ability to build a
combination of holds necessary to become a champion.
Today's techniques were developed by our best
wrestlers and most creative coaches. These
coaches and wrestlers took the best from our earlier
techniques and combined them with many elements
of the more modern international style. These new
techniques are surprisingly multifaceted and
become richer from year to year.
The syllabus has captured this multifaceted
technique. No other book to date has been able to
capture, in sequential photos, the best wrestlers and
coaches in the world executing their best techniques. The U.S. Wrestling Syllabus should serve as
a guide to proper technique for both coaches and
wrestlers.
PREFACE
FOREWORD
hen a great champion decides to write a book

on wrestling, he and his book deserve deep
respect. This is an opportunity to express to Stan
Dziedzic, by written words, my compliments and my
great admiration. This work is the result of his prac-
tical experiences as both an athlete and coach and

scientific knowledge, and therefore merits our complete consideration.
There have been many contacts between Stan
Dziedzic and myself. I got to know him both as
wrestler and expert. His participation in various
FILA working groups, in the FILA Coaching Commission meetings, and particularly in the lectures he
gave at the 1980 Cavtat, Yugoslavia Coaching Clinic,
met with warm approval of all in attendance. The
best experts in the world had the opportunity of coming into contact with an excellent connoisseaur of
the theory and practice of wrestling.
Stan Dziedzic has poured his knowledge and experience into this book, not only enriching the actual
professional literature, but also opening new
horizons in the theory of wrestling.
FILA is willing not only to recommend the book,
but also to use it as a resource for the methodology
of professional activities in coaching. Such a work
has been expected for a long time.
On the FILA's behalf I wish to express to Stan
Dziedzic our gratitude for another valuable work.
Milan Ercegan, President, FILA
1 MASTERING WRESTLING TECHNIQUE
great deal of practice and study is required

before a wrestler can master any particular
technique. The mechanics of a particular technique
are only a small part. A wrestler should also have a
clear image of each component of the technique, its
sequence and rhythm, as well as the role each part
of the body plays.
The execution of a maneuver may cause particular
defensive reactions by one's opponent. A wrestler
must recognize and combat these defenses instantaneously. Further, he needs to know both the
favorable conditions for executing a technique and
the ways of creating these favorable conditions.
Finally, a wrestler must know the rhythm of the setup and the technique.
In the course of mastering a technique, a wrestler
must learn the following:
(1) The place the technique holds in the arsenal of
wrestling skills. The popularity of the technique, and the percentages of success for the
hold. (Example: a single leg takedown has a
greater percentage of success than the headlock, but your opponent will be more likely to
expect it.)
(2) The physical qualities that are important in the

fulfillment of the technique. Strength, speed,
balance, flexibility, agility and endurance are
some of the traits that might be considered.
(3) The proper mechanics of the technique.
(4) The rhythm of the technique.
(5) Other techniques that might work in conjunction or sequence with this technique.
(6) The muscles utilized in the execution of the
technique and how the wrestler can develop
them.
(7) The different variations of the technique
forced by your opponent's reaction to the
maneuver.
(8) The appropriate strategic preparation and how
you can create favorable conditions for the
technique.
(9) The possibility to combine certain parts of this
hold with other techniques. (Example: the footwork employed in the execution of a headlock
is also used in doing an arm throw and hip
toss.)
(10) The defenses to the technique, and how you
should react to each defense.
After several training sessions, a wrestler should

begin to know the place of a technique in the arsenal
of wrestling skills, the importance of particular
physical qualities in the fulfillment of this maneuver,
and the proper mechanics of the hold (points 1, 2,
and 3). As training sessions continue, a wrestler
should be developing the rhythm of the technique
(point 4).
After mastering the mechanics and rhythm of a
hold a wrestler will need to challenge himself in
order to progress. In subsequent lessons a wrestler
should ask his opponents to create obstacles and
learn the correct techniques to overcome these
obstacles (point 5). One should develop the muscles
involved in the move both while practicing the
technique and during a specific strength training
program (point 6).
Mastering the different variations of a hold,
learning the proper strategic preparation for a move,
combining certain parts of a technique with other
techniques, and counteracting the various defenses
to a maneuver are particularly difficult tasks. Experience, practice, feedback , and knowledge of your
physical components are important in developing
these skills (point 7, 8, 9, and 10).
The syllabus contains the necessary information,
but mastering technique will depend on the amount
15
of time and effort you are willing to expend. It is well

known that each person must develop skills that correspond to his age level and wrestling background.
The younger and inexperienced wrestlers should
first master the basic skills and then l e a r n progressivelythe more advanced holds. When
young wrestlers are left alone in wrestling, they frequently build bad habits which are very difficult to
correct later.
The U.S. Wrestling Syllabus should serve as both
a reference and technical guide. The set-up, position, and finish are illustrated by some of the best
technicians in the world. The total approach, which
includes the related techniques, can be an integral
part of the acquisition of a wrestling skill. The sequence which starts with the basic techniques and
progresses into the more advanced is a guide for all
age groups.
As you can see, the task of mastering a technique
is a complicated and tedious one. There are various
methods available to accomplish the task. Repeated
drilling, diversified drilling, and part drilling are
some of the most effective methods. Each of these
has a separate purpose in the acquisition of
wrestling skills.
Repeated drilling is defined as repeatedly executing the same technique without any change in
16
the conditions. The purpose of repeated drilling is to

develop proper mechanics. In order to accomplish
this goal effectively, a wrestler must have a clear image of every component of the hold. Without this
clear image, a wrestler will develop bad habits that
will be difficult to correct later.
Diversified drilling is defined as performing a
technique under different conditions. This type of
drilling plays an important role in mastering a move
by assisting him in developing the proper rhythm of
the hold, in learning how to react to counters, and in
developing different variations of the technique. The
essential means of altering the conditions are:
choosing partners of various sizes, strength, weight,
and temperament; changing the reactions of the
partner to the technique; and approaching the
maneuver from different positions.
In part drilling the technique is broken down into
three phases; the set-up, attack and finish. Each
phase is drilled separately in both the repeated and
diversified format. This will help the wrestler understand what other techniques work in conjunction or
in sequence with the move, what some of the
strategic preparations for the hold are, and what
parts of the maneuver can be combined with other
techniques.
There are several other areas that affect the ac-
MASTERING WRESTLING TECHNIQUE
quisition of sports skills. The quality of the model

and the test and feedback also contribute to learning a wrestling technique effectively. In order to
learn the proper mechanics of a hold, it is important
to have a good model. This is the greatest benefit a
wrestler can derive from The U.S. Wrestling
Syllabus. The syllabus has captured proven technique, in proper sequence, demonstrated by the best
models in the world.
In addition to having a proper prototype, an
athlete must be tested and receive feedback. The
test should be rigid enough to extend a wrestler and
allow him to measure his improvement. Since the
quality of feedback is so important, an athlete
should acquire as much feedback as possible. Both
the observations of the coach, and the viewing of
video tapes and films can be valuable tools in
mastering holds. Further, a wrestler should review
methods of improving his skills, altering awkward
motions, and eliminating his mistakes.
Once a wrestler has mastered a strong technical
base, he is ready for the next step: strategy and tactics. A level of good performance depends largely on
the ability of the wrestler to anticipate, in a correct
and detailed manner, the tactics he is going to
implement during each match.
2 STRATEGY
n order to master strategy, a competitor must be

well prepared physically, psychologically, and
technically. The mastering of strategy can not be
over-emphasized. The more a wrestler knows about
strategy, the more capable he will be in creating
favorable situations, and the more points he will be
able to score while investing less energy and
strength. In fact, it is primarily the strategy that
determines the efficiency of a technique. Even the
simplest hold is a very efficient weapon, if tactically
set-up and efficiently performed.
A competitor must first command the technical
skills before he can master strategy. Limited
technical skills restrict the scoring possibilities of a
wrestler and make his actions predictable. An
athlete who is able to execute only one or two holds
will not be successful in championship competition.
Once a wrestler's opponent discovers what his few
techniques are, he will be unable to use them effectively. The element of surprise is effective only the
first time.
A wrestler's strategic possibilities are also affected by his physical abilities. Highly developed
speed, strength, dexterity, and endurance enable a
wrestler to select at a given moment the most appropriate way to secure a hold. For example, a
wrestler with good endurance is able to execute an
appropriate attack on his opponent no matter what
the tempo of the match. Wrestling strategy can
change as a result of a development of physical
qualities. On the other hand, a more detailed
knowledge of wrestling strategies contributes to a
better manifestation of a wrestler's physical
qualities. For example, the speed with which the
wrestler performs a given hold and the strength he
demonstrates during a hold greatly depends on his
ability to assess strategically even the slightest
change in the situation.
If a wrestler is not prepared psychologically, he
will be overly worried before his match. In such a
case, he will lose his self-control and ability to make
the appropriate strategic combinations. A wrestler
afraid of dangers and obstacles is usually prey to a
strong-willed opponent.
During the match, it is up to the wrestler alone to
solve various technical problems and fulfill various
technical tasks. In order to follow the right course
within a match situation, to decide the most ap-
18
appropriate solution rapidly, and to react correctly and

on time to all changes, the wrestler must be able to
think logically and anticipate his every strategical
maneuver. Strategic thinking should be based on
quick estimation of the situation. It is indispensible
to be able to think quickly. For this reason it is
necessary to acquire, even to the point of automation, all stages in the performance of a given hold;
this ability will enable you to make a quick assessment of a given situation and to take appropriate
steps to remedy the problem. This skill is the most
important feature of strategic thinking. The successful execution of a hold depends on an athlete to
anticipate and visualize future action and its main
feature.
The wrestler's ability to think in this fashion
depends on his knowledge of wrestling. It is
necessary to be able to recognize the qualities of the
opponent, to read his thoughts, and to anticipate his
actions. The wrestler who is able to read the
thoughts of his opponent and anticipate with the
highest degree of probability enhances his own
possibilities in any given situation. Then the actions
of his opponent are not unexpected and sudden to
him; thus, they will not be as effective. On the other
hand, it is not always possible to anticipate
everything. During a match, unanticipated situations
STRATEGY
and obstacles may arise and require a change in the

preconceived plan. Very often the wrestler has to
cope with the fact that his opponent will defeat this
plan; for this reason, it is important for a wrestler to
develop the flexibility of strategical thinking. The only guarantee of success is the creative approach to
the solution of a given problemthe ability to think
through the adversities that arise in the execution of
a hold and to constantly discover new means to
solve these problems.
3 TACTICS by Ed Yarovinsky
wrestler may utilize various set-ups to create

favorable conditions for a particular technique.
The seven set-ups most frequently employed are:
breaking of balance, "binding" the opponent,
maneuvering, threat, repeated attack, double deception, and challenge. No definite sequence is imperative, and each method may be used separately
or in combination.
Breaking of Balance. By jerking, pulling, and
pushing the opponent, a wrestler may succeed in
breaking his adversary's balance. Once this is
achieved, the opponent partially loses his ability to
defend himself and must concentrate his efforts
on regaining his balance. The attacking wrestler
should capitalize on his opponent's vulnerability
by using a sequence of several forceful and
tenacious movements. By so doing, he will create
favorable conditions for several other techniques.
a favorable condition and can be used successfully in all phases of wrestling.

Maneuvering. Maneuvering involves changing
one's position on the mat and actively capitalizing
on the opponent's tie-ups. The attacked opponent
concentrates on the movements of the other
wrestler, tries to either maintain control or give it
up; and attempts to maintain a certain distance
and stance while changing his position. By
maneuvering properly, a wrestler may force his opponent either to move in a favorable direction or to
remain stationary. Maneuvering can distract the
opponent's attention, can give the wrestler time to
learn his opponent's intentions, and can stymie his
opponent. By maneuvering, a wrestler can create
conditions favorable for applying certain techniques and for solving tactical problems encountered during the match.
"Binding." By "binding" his opponent's hands,

arms, neck, or a combination of these, a wrestler
limits the scope of the opponent's actions and
almost eliminates the possibility of attack. "Binding" also forces the opponent to concentrate his
attention on breaking free from this control. This is
Threats. Threats are deceptive movements pretending to aim at grabbing a certain part of the opponent's body. If the opponent reacts defensively,
the wrestler must quickly grab a different part of
his body. For example, if a wrestler attempts a collar tie-up, and the defendant raises his head to pro-
20
tect it, his body and legs are left vulnerable to attack. A threat can open the opponent's defense,
can make him take a certain stance or position,
and can produce a particular reaction. The wrestler
must be aware, though, that the opponent can
react by attacking. Therefore, the wrestler must be
very attentive.
Repeated Attack. In a repeated attack, the wrestler
uses the same technique a second time. First, the
technique is carried out with less than full effort,
enabling the opponent to defend against the
technique easily. This will delude the opponent into thinking that the technique is easily foiled. The
second attack must then be carried out using maximum effort. If the opponent reacts with less than
full effort because of the previous attempt, the
technique will be successful.
Double Deceit. In the double deceit, a wrestler
hopes to deceive his opponent into thinking that
the real technique by which he wants to succeed is
a false alarm which need not require an adequate
defense. If such a deception is attained, a wrestler
will conduct the same technique again, but this
time he will use full force. Double deceit differs
from repeated attack only in that in the former the
wrestler employs two different techniques. After
having convinced an opponent that the first tech-
TACTICS
nique was a bluff, a wrestler imitates the carrying

out of the second technique in order to deceive his
opponent into thinking that the second technique
will actually be carried out. This creates a
favorable condition for the wrestler to employ the
first technique successfully.
Challenge. Challenge prepares the ground work for
conducting counter-techniques; it also forces the
opponent to switch to active participation. It is
based on the utilization of stances which convince
the opponent that conditions favor attack and
active participation. Such provoked attack must be
promptly answered by carefully prepared techniques and counter-techniques. The wrestler who
uses challenge must have quick reactions, must
be able to move fast, must be resolute, and must
have very good counter-technique. Delays and
indecisiveness will enable the opponent to attack
successfully.
TACTICAL COMBINATIONS
Combined application of various techniques is
based on the assumption that a wrestler's first
technique will be answered by his opponent either
with a defense or with a counter-attack to which the
wrestler immediately responds with another technique. It may often happen that the first technique
makes the opponent take a stance favorable for

carrying out the second technique.
Combinations are usually divided into three
categories:
The first category can be expressed by the formula
techniquetechnique. The first technique in this
case produces favorable conditions for implementing the second.
The formula for the second category is fake techniquedefensive counter-techniquetechnique.
In this case, the first technique is aimed at making
the opponent either defend himself or counterattack so that a favorable situation is created for
applying the next premeditated technique.
The third category can be described as techniquedefensetechnique or counter-technique.
The first technique of this combination is conducted in full force, and if the opponent uses
defense or counter-defense, the wrestler quickly
switches to the technique which is the most rational in the given situation.
Past matches have attested to the fact that combinations in competition require high standards of
physical training. As a result, all the combinations
must be diligently practiced while the wrestler is in
the process of training. Using the first group of com-
21
binations requires great strength and flexibility, very

good coordination of movements, and also the
development of such qualities as resoluteness and
persistance. The second group demands quickness,
very good reactions, self-assurance, initiative, and
self-control. One must remember the opponent does
not always counter the wrestler's initiative with
defense. Therefore, the wrestler who starts the combination with a fake technique must be very attentive and ready for any action. To master the third
group, a wrestler must attain perfect knowledge of
all the possible variations of defense and counterdefense, must master a whole set of techniques,
must acquire a very highly developed level of
physical prowess, and must attain firm will power.
Favorable conditions are also created as a result
of the opponent's mistakes. An experienced
wrestler, especially the one who knows his opponent well, can almost always observe if the opponent has made a mistake, or whether he is simply
provoking him to take a certain course of actions.
The most important thing is to determine the
mistake and to capitalize on it as quickly as possible. Experience reveals most mistakes are made
either near the edge of the mat, or when getting up
from par-terre to a standing position, or when the
strength of the opponent is either under-or over-
22
estimated. The most opportune time for creating

favorable conditions is when the opponent is tired
because in such a state his attention, quickness and
strength diminish to the point where he often
becomes apathetic or careless. Other situations
conducive to improving conditions exist when the
opponent is complacent, distracted, depressed,
timid or frightened.
TACTICS OF CONDUCTING A MATCH
Tactics of conducting a match are aimed at
achieving a predetermined goal by way of solving
certain.problems which may arise.
Each wrestler has a certain individualistic style of
conducting a bout which is characteristic only of
himself, but all wrestlers utilize the tactics of attack,
counter-attack, and defense. Attack is characterized
by active participation by the wrestler who attempts
to strike first. Nonstop attacks involve either a series
of attacks or the implementation of spurt attackssingle attacks. The stop series of attacks is
based on the wrestler's initiative, on the imposition
of his will, on his pace, on situations convenient for
him, and on poses and stances favorable for implementing various techniques and countertechniques. The wrestler, by using this tactic, sup-
TACTICS
presses the will of his opponent by refusing to let

him concentrate and prepare for active participation. This tactic requires endurance and will power.
Spurt tactics are separate attacks that use various
swift-paced actions in the hope of creating conditions favorable for implementing some desirable
technique. The suddenness and the pace of a spurt
attack, which lasts for 15-20 seconds, are aimed at
stunning the opponent and disturbing his defense.
This tactic can also be conducted at a different
pace. It requires skillful coordination of one's
movements and an instant result.
The tactic of counter-attack is characterized by
answering and countering all the moves of an opponent. The wrestler creates a certain situation which
entices his opponent to act. The wrestler then
forestalls his opponent's actions with a countertechnique. This attack requires quickness of reaction, self-assurance, and courage. It should not be
used if the opponent counter-attacks.
A wrestler's defense involves constant use of
defensive actions intermingled with simple counterattacks aimed at capitalizing on the gross mistakes
of the opponent. The use of this tactic requires great
self-control as well as a good knowledge of defense;
otherwise, the wrestler quickly makes his intentions
clear to the opponent and also receives a warning
from the official. That is why attack becomes

necessary.
The modern level of a wrestler's professionalism
requires a very detailed laying of ground work before
conducting a match with any opponent. Thus, a tactical plan of each match should be made beforehand
in which each of the following must be determined;
the goal of the match, means and ways of achieving
it, types of tactics and their combinations, distribution of one's strength by periods of the match, and
possible variants of modifying the plan. One's own
qualities must be objectively compared with the
qualities of the opponent. If the opponent is
unknown, reconnaissance must be conducted during the match. Each plan of the wrestler must have a
goal which may be achieved by general means.
Determining the goal depends on the character and
the type of competitions, the opponent's strength
and experience, and the goal one hopes to attain.
Means and ways of achieving the goal are determined by technical and tactical factors, physical
qualities and capabilities, and the opponent's will
power. Achieving the goal involves choosing basic
means of tactical preparation in the execution of
certain techniques, in the kinds of tactics and in the
ways of applying them. It is advisable to foresee the
tempo of the match and its variants, as well as one's
23
choice of stance and distance. The carrying out of

the tactical plan depends foremost upon the
wrestler's determination and confidence. A wrestler
must be creative in carrying out a plan; he should
always take into account the actual situation and
never follow any plan blindly.
One should not forget that tactics require the
quick and reasonable implementation of all the
means possible that help solve the problems which
are obstructing the achievement of a certain aim.
The minute breaks should always be used not only
for rest, but also for analyzing one's plan and making all necessary corrections. Therefore, if in the
first period of the match the implementation of the
plan has been complicated and, for some reason,
has been prevented from being changed, defense
should be used. Later, during the calmer atmosphere of the break, the match can be better
analyzed. During such time, the wrestler's coach
must be of great help to him. Attention and tactical
thinking play an important role in the realization of a
tactical plan. In any case, whether or not the plan
has been fulfilled, it must be analyzed after the
match so all the mistakes can be marked and avoided in the next match.
The prematch state of the wrestler also has a profound influence on whether he succeeds in fulfilling
24
his plan. It is quite possible a very good and properly

constructed plan will not be carried out because of
the negative emotional state of the wrestler. This
must be taken into account, and everything possible
should be done to eliminate these negative responses.
TACTICS OF PARTICIPATING IN COMPETITIONS
These tactics are aimed at winning by using all
the means available while taking into account the
actual circumstances. Based on his true capabilities, each wrestler sets a goal of reaching a certain place in the competitions; simultaneously,
however, he must also always aim at attaining the
first place. This is the main goal, and all factors
must be directed to attaining it. Hence, the wrestler
must:
Know all the rules and regulations concerning the
competitions.
Know his opponents well and know their
capabilities in these particular competitions.
Distribute his strength for all the days of the competition.
Carefully watch the competitions and analyze the
results achieved by all his opponents.
Determine the best routine for keeping his weight
under control and for acclimatization.
TACTICS
Knowledge of rules and regulations allows the

wrestler to know what effect the results of his match
will have on his final place finish and how a particular action will be scored. Knowing one's opponents enables the wrestler to make a good tactical plan of matches and to predict possible results
of his opponents. Correct distribution of one's
strength during the competitions determines the
wrestler's success to a great extent. The wrestler
must divide his use of energy in each match in such
a way as to achieve the best results without depleting resources.
The wrestler must closely watch the competitions
and objectively evaluate and analyze his results as
well as those of his opponents. Thus he can not only
predict but also make further plans for improving his
performance at competitions. This must be done
even when the wrestler has been eliminated from the
competition so he can acquire experience for his
future competitions.
Sound weight control will free the wrestler from
many troubles during the competitions and will
create better conditions for wrestling. Unlike in tournament competition, tactics of performance in individual matches consist mainly of the wrestler using all his abilities to attain his goal.
4 STANCE
Gene Daw's and his Mongolian opponent illustrate

staggered stances.
he stance is the starting position for initiating

takedowns and is an important aspect of successful takedown wrestling. Yet some wrestlers are
unaware of the characteristics of a good stance.
Takedowns require speed and proper position. A
proper stance should be relaxed and comfortable. A
tense stance requires a wrestler to relax before he
can attack; therefore, time should be spent on learning to relax and move in your stance. Relaxed
doesn't mean limp. Certain muscle groups like the
lower back and thigh region will be flexed because
of the position.
There are nine varieties of stances. A stance can
be square, staggered right, or staggered left as well
as high, middle, or low. The major difference between the square and staggered stance is the position of the feet. In a square stance, the feet are
parallel; in a staggered stance, one foot is slightly
ahead of the other. Neither stance is better than the
other; instead, each has certain advantages over the
other. A wrestler should choose the stance that best
fits the tactics and techniques he uses. In a square
stance, a wrestler can penetrate with either foot, can
move well and in all directions, and doesn't have
26
STANCE
either leg closer to his opponent. In a staggered

stance, a wrestler has his feet in a ready position for
penetration, can penetrate with the same leg on all
his techniques, and only has to master one-sided
defense. In either the square or staggered stances, a
wrestler generally has better attacking capabilities
in the higher and middle positions while a lower
position has better defensive properties. In a live
situation, most wrestlers change from one stance to
the other, but will consistently return to the most
comfortable stance.
Whatever stance a wrestler chooses, he must
realize that the stability of his body will not be equal
in all directions since it is impossible to create a
takedown stance with equal angles of support. This
section will show the different stances and illustrate
the important characteristics of each.
SQUARE STANCE
Front View: Feet are slightly wider than shoulder
width. Palms are facing each other, and elbows are
in. Head is up, and the knees are rotated inward so
that the weight is always on the inside of the balls of
the feet.
The lines of gravity start from man's center and pass through the
knees to the insides of the balls of the feet. '
'Sasahara, Shozo. Fundamentals of Scientific
Wrestling, 3rd Edition, pg. 59, 1978.
27
Side View: Knees and hips are bent slightly. Head is

up and looking forward. Eyes are concentrating on
opponent's whole body and not on any specific part.
Shoulders are slightly in front of both feet. Back is
straight but shoulders are rounded. Forearms are
parallel to the mat.
;,
2X
28
STANCE
STAGGERED STANCE
Front View: Feet are slightly wider
than shoulder width. Weight is on
insides of the balls of feet. Palms
are facing each other and elbows
are in. Head is up but not strained,
and knees are rotated inward.
Side View: Knees and hips are bent

slightly. Shoulders are slightly in
front of both feet. Back is straight
but shoulders are rounded. Forearms are parallel to the mat and
one foot is slightly forward.
5 MOTION
wrestler should be cautious when changing

positions. When moving, a wrestler's body is
momentarily supported by one leg and therefore in a
less stable position. The following steps should be
incorporated when moving in the standing position:
(1) Move with slightly bent legs.
(2) Lead with the foot nearest the direction moving; for instance, when moving right, a wrestler
starts with his right leg.
(3) Avoid crossing your feet or getting them too
close together.
(4) Take short, quick steps.
(5) Don't change the position of your torso in relation to your other body parts while moving your
feet.
(6) In a wrestling stance, the points of the center
of gravity are on the insides of the balls of the
feet. When moving, always move to maintain
these points of gravity.
There are three basic distances when a wrestler is
in motion:
when the wrestlers are unable to tie-up with
each other,
when the wrestlers are at arm's length,

when the wrestlers are in a tie-up position.
During a match the distance a wrestler maintains
depends on his tactical and technical intentions. A
wrestler will often find himself at a variety of
distances, however, and should be able to execute
techniques and defend himself from any distance.
"Sasahara, Shozo. Fundamentals of Scientific
Wrestling, 3rd Edition, pg. 59, 1978.
6 BREAKING OPPONENT'S BALANCE
he ability to break the balance of an opponent is

a fundamental to becoming proficient in takedown wrestling. Few wrestlers completely command
the skill of breaking their opponent's balance. The
time a wrestler spends to master this skill would be
time well spent.
Japanese Olympic Champion Shozo Sasahara
uses the following diagrams to illustrate the concept of breaking an adversary's balance.*
The triangles shown in Fig. A and B illustrate the
direction to break a competitor's balance. The feet
of a wrestler in the neutral position form the base of
an isosceles triangle. The vertices mark the points
where an opponent's balance is most vulnerable. A
wrestler should constantly be aware of the orientation of his competitor's triangle.
Moving an adversary in the directions marked in
the circle requires a push, pull, and/or snap. A
wrestler may utilize the push to force his opponent
backward and the pull and/or snap to maneuver him
forward.
It is important to remember when a wrestler is offbalance his capacity to defend himself is
significantly diminished, and his efforts will be
geared to regaining his balance. A tactical wrestler

will seize this opportunity by attacking his opponent
to acquire a takedown.
Figure B
BACK
LEFT BACK
RIGHT BACK
RIGHT FRONT '
\ ^ _ L _ - - ^
f
" LEFT FRONT
FRONT
Figure C
"Sasahara, Shozo. Fundamentals of Scientific
Wrestling, 3rd Edition, pp. 25-27, 1978.
BREAKING OPPONENT'S BALANCE
32
Pictorial illustration of breaking opponent's balance.
PES
1 1
IS
7 THE TIE-UP AND BREAKING OF THE TIE-UP
Stan Dziedzic, 1977 World champion, controlling

Wade Schalles, 1977 World University champion,
with a 2 on 1 in the 1976 Olympic trials.
he tie-up is a fundamental of takedown wrestling

often overlooked by coaches and wrestlers.
Wrestlers lose matches because they are unable to
break their opponent's tie-ups effectively. Time
should be spent on mastering control and breaking
your opponent's control in the tie-up positions.
A wrestler who has mastered the tie-up will have
the necessary base to control the tempo of the
match and the means to maneuver his opponents into positions favorable for particular techniques. He
also will be able to limit his opponent's attack. A
wrestler not mastering the tie-up will be unable to
hide his weakness and will be easy prey for wrestlers
who have mastered the control of the tie-up.
As you will see in the syllabus, the tie-up is the
basis for many wrestling tactics and techniques. Important points on tying-up:
Reach short and quick when tying-up.
Grip tight on tie-ups.
Avoid making contact with your head. It restricts
your movement and warns your opponent of your
movement.
The instant you acquire control of a tie-up, use it to
create the conditions for a takedown.
34
THETIEUPAND BREAKING OFTHETIEUP
1 Head tie-up.
'S
2 Head and bicep tie-up.
3 Inside bicep-shoulder tie-up.
4 Double bicep tie-up.
35
5 Double wrist tie-up.
6 High underhook tie-up.
THE TIE-UP AND BREAKING OF THE TIE UP
36
7 Low underhook tie-up.
9 2 on 1 undergrip tie-up.
8 2 on 1 baseball grip tie-up.
\i
'
. ; . ;
37
10 2 on 1 overgrip tie-up.
11 Over and under tie-up.
1 2 Head outside 2 on 1 .
38
THE TIE-UP AND BREAKING OF THE TIE-UP
7.1 Stan Dziedzic breaking the wrist control tie-up.
1 My opponent has control of both my

wrists.
2 / reach across and grasp my opponent's wrist. When I achieve control, I

rotate my wrist toward the thumb, breaking
my opponent's hold.
3 Now that I have treed my wrist, I move

up for my 2 on 1 control.
39
7.2 Dan Gable clearing the shoulder tie-up.
1 My opponent has a shoulder tie-up, which gives him a feeling

of control and an awareness of my body position. I want to break
free of this position and move my opponent to create conditions
for takedowns.
2 Here my elbow comes across while my opposite hand

reaches up to catch his wrist. At the same time, I shrug my
shoulder as / begin to twist.
40
3 / turn my body in, pulling my opponent's wrist off.
4 ( now have control of the 2 on 1 and shall look for my takedown.
41
7.3 Dan Gable clearing the shoulder tie. Opposite side view.
1
42
7.4 Stan Dziedzic counteracting the double bicep tie-up.
1 In this position my opponent has the

inside biceps tie-up. Unless I break or
change this position, he will take advantage
of this favorable condition.
2 To change the tie-up position, I

straighten and rotate my left arm inward
while my right arm starts to circle under my
opponent's left arm.
3 My left arm is straight, and my thumb

is rotated inward as tar as possible, blocking my opponent's right shoulder. At the
same time, my right hand is controlling and
pulling his right wrist.
4 Once / pull my opponent's wrist all the way to my chest, my

left arm releases and lifts under his right arm.
43
5 / now have control. My opponent's arm is pulled tight into my

chest. I have shoulder and body position, and I am now ready to
react to this favorable condition. I must make certain I'm as high
as possible on his arm. I'm also holding his arm in and pushing up
with my left arm.
44
7.5 Stan Dziedzic breaking the bicep and collar tie-up.
1 My opponent has control with a biceps and collar tie-up. I

reach my right hand over the top of his left arm and begin to turn
my body in order to put pressure on my opponent's elbow.
2 / continue to turn, and reach my right hand over the top of my

opponent's arm to his far wrist. This puts a great deal of pressure
on his elbow.
3 / continue my turn, drawing my opponent's wrist toward me

and tight to my chest.
45
4 I now have broken his tie-up and secured the 2 on 1 control.
46
7.6 Don Behm breaking the 2 on 1 tie-up.
1 My opponent has control of the 2 on 1.

My first reaction is to shrug my shoulders,
bend my arm, and block with my forehead.
2 At this point, I am moving my hips back

and yanking away.
3 / now lunge into my opponent, using

my forearm as if giving him a forearm
shiver. It is important to use the power of
my legs.
4 My opponent is now off balance. I am maintaining this drive,

and continuing to crowd my opponent.
47
5 / continue to move in, looking for my attack.
48
7.7 Stan Dziedzic counteracting the 2 on 1 tie-up.
1 The first thing I have to do to break the 2 on 1 is keep my controlled arm bent and my shoulder shrugged while driving into my
opponent.
2 I'm now trying to pull my opponent's tar elbow toward me to

break the tight grip he has on my wrist.
3 At this point I've already Jerked my arm free, and I'm reaching
for my underhook.
49
4 / now have control. It is important to emphasize I still have

my opponent's far elbow, and my elbow is pinching his hand
against my side.
50
THETIE-UPAND BREAKING OF THETIEUP
7.8 Stan Dziedzic countering the 2 on 1.
1 As in most breaks for the 2 on 1,1 have my shoulder shrugged

and arm bent, while I drive into my opponent. I'm also controlling
his wrist.
2 I'm now pulling my opponent's wrist tightly to my chest

which frees my left wrist. Also my left arm is dropping down to
secure an underhook.
3 / now have an underhook and far wrist control.
51
A I am looking to capitalize on my control and take my opponent down.
52
7.9 Stan Dziedzic breaking free from the underhook tie -up.
1 My opponent has a deep underhook but his hand is farther

down my back and not high on my shoulder. This position allows
me to put strong pressure on his elbow and shoulder.
2 At this point I'm pushing my opponent's hip away and dropping my weight down which puts pressure on his elbow and
shoulder. At the same time my right hand is ready to catch his
arm if he pulls away.
53
3 / now have my opponent's arm. I want to emphasize how far

back my left leg is. This drops my weight down even farther.
4 I'm now moving in to gain 2 on 1 control.
54
5 / have a strong 2 on 1, and I'm looking for a favorable condition I can take advantage of.
55
7.10 Stan Dziedzic clearing the high underhook tie-up.
1 in this photo my opponent has a high

underhook. As I drive into him, I bring my
right hand up to push off his chest.
2 Pushing my opponent back, I bring my

left arm over the top of his shoulder. It is important to rotate my wrist so I can thrust my
arm free.
3 / have cleared the high underhook and

will proceed to move in for my attack.
56
7.11 Ion Baciu breaking away from the underhook.

i
1 My opponent has a deep underhook. If I don't react and break

this tie-up, he will capitalize on the favorable condition.
2 / step back with my right foot, dropping my weight down as I

also bring down my arm. This put tension on my opponent, making him pull back.
3 At this moment I drive in, making my opponent feel I am going for a body lock. He reacts by dropping his hips back.
57
4 As my opponent drops his hips back, I circle my arm over top

of his arm, while I move away and to my right.
58
5 I continue to move away till I break free of the underhook tieup. At this point I'll be moving back in to gain my control or to
attack.
THETIE-UPAND BREAKING OFTHETIE-UP
59
7.12 Stan Dziedzic counteracting the over and under tie-up.
1 My opponent and I are in the same tie-up position, an "over

and under."
2 Here I am "pummeling," trying to pry my right hand between

my opponent's arm and my chest.
60
3 With my hand in position, I am shrugging my shoulder and

straightening my arm as I try to drive my arm inside.
4 My arm is inside, shoulder shrugged, and my elbow raised.

With this deep control, I look for the conditions favorable for a
takedown.
8 BREAKDOWNS FROM BEHIND
aking your opponent to the mat from behind is

an important component of takedown wrestling.
A wrestler, who wishes to become proficient at taking his opponent down, will need to master these
techniques. In addition, in the international style of
wrestling, a takedown is not awarded until your opponent's knee touches the mat; therefore, learning
to break your opponent down from what is commonly referred to as the "tripod" position is imperative.
Lee Kemp, three time World champion, tries to move

behind Dave Schultz, World University Silver
Medalist, in the 1980 Olympic wrestle-offs.
62
BREAKDOWNS FROM BEHIND
8.1 Ben Peterson demonstrates how to force all of the weight onto his opponent's thigh, causing it to collapse.
1 At this point I am driving all my weight onto my opponent's

right leg.
2 / continue dropping my weight, forcing my opponent to shift

his weight to his right leg.
3 / now drop to my knees using the underside of my right arm

to continue to place more of the weight on top of my opponent's
leg.
63
4 As soon as my opponent's legs begin to bend, I start to

follow him to the mat.
64
S My opponent hits his side.
6 / continue to move around for the takedown.
65
8.2 Ben Peterson executes a near leg trip.
1 / am beginning to put pressure on my opponent's right leg by

pressing my right arm down, forcing him to shift his weight on top
of his right foot.
2 Here I begin to step in front to trip my opponent. It is important that his weight is posted on the toot I am trapping,
66
3 / now scoop my leg in front and begin to trip.
4 / drive forward, forcing all my opponent's weight over top of

the leg I am tripping.
67
5 As we tall to the mat, I jerk my opponent underneath me.
6 / coyer my opponent for the takedown.
68
8.3 Ben Peterson shows how to
rm a lift and sweep.
1 From behind, I begin to lift my opponent.
2 Once I lift my opponent off the mat, my

right knee comes up to the outside.
3 As I bring my leg into my opponent's

leg, I now begin to turn him with my arms,
taking him over the top of my leg.
69
4 As my opponent falls, I remove my leg so he lands on his

side.
5 / coyer my opponent for the takedown.
70
8.4 Ben Peterson illustrates an excellent backheel.
1 Here I lock my hands around my oppone/it's waist. Note that his feet are out in
front, causing him to be oft balance toward
the rear.
2 My left leg is deep between my opponent's legs as my right toot comes up to

block his heel. I must emphasize that at the
same time I jerk his weight backwards.
3 With my opponent falling down, I begin

to turn in order to land on my hip and not my
butt. I also bring my left leg up between my
opponent's legs as I yank him backwards.
4 4s my opponent hits the mat my left leg continues to come

up between his legs. This forces his weight forward even farther,
preventing him from switching me.
71
5 / cover my opponent for the takedown.
72
8.5 Stan Dziedzic shows how to step in front and lift, a technique he used successfully against his Mongolian opponent
in the 1977 World Championships.
1 I have not gained a takedown because I

have not been able to break my opponent
down to the mat. He remains in a standing
position, and I am behind with my hands
locked.
2 I step in front of my opponent. Notice

how I am turning my knee in as I drive my
toot all the way around and perpendicular
to my opponent.
3 At this point, I thrust my hips in and up

using the strength of my legs and the
momentum of my hips to lift my opponent
off the ground,
73
4 / now have my opponent completely in

the air.
5*1 step back and allow my opponent to

hit the mat.
6 / maintain control,
74
8.6 This opposite view of the previous technique better illustrates both the leg position and the power generated
when the technique is executed properly.
75
76
8.7 Stan Dziedzic demonstrates how to create the conditions to step in front and lift when your opponent
is in a low stance.
1 Often when my opponent is in a squatting or lower position,

it is very difficult for me to step in front of him. Therefore, I set my
technique up by pulling my opponent back, as shown here.
2 My opponent reacts by straightening up to regain his

balance so he doesn't fall to his butt.
3 Now I begin to step in front.
77
4 / am in front. Notice my foot is completely perpendicular to

my opponent as I begin to lift.
78
5 To generate maximum power, I thrust in my hips and

straighten my legs.
6 / step back, allowing my opponent to tall to the mat.
7 / gain control.
79
80
8.8 Stan Dziedzic illustrates, in these four photos, how to set your opponent to his butt when he has his weight low.
1 / am beginning to shift my weight backwards, pulling on my

opponent's hips. I must make certain my elbows are pressed
tightly against his hips.
2 / am dropping my weight down now, drawing my opponent

downward and backward.
81
VVA4.
3 As my opponent and I hit the mat, I must maintain my base.
4 Here I am following my opponent for the takedown.
82
8.9 Ben Peterson shows how to complete a takedown by lifting his opponent and jerking him backwards.
1 My opponent is in a standing position attempting to break

my grip, as I begin to lift him off the mat. I must be sure to keep
my legs in tight.
2 / thrust my hips into my opponent, forcing his legs upward.

Simultaneously, I roll him up onto my chest.
3 Now that my opponent's feet are out in front of him, I begin to

pull him down by cupping under his armpits and yanking back.
83
4 As soon as my opponent's butt hits the mat, I drop my weight

on top of him.
84
5 / attempt to hold my opponent on his back in order to gain a

fall.
6 / finish with a pin.
85
8.10 Jim Humphrey executes a suplay from behind. Jim used this maneuver successfully against a Bulgarian
opponent in winning his Silver Medal.
1 With my opponent In a standing position, I start to pull him

down from behind.
2 * My pressure backwards forces my opponent to stand up to

maintain his balance.
^p
3 As my opponent straightens up, I begin to step In front. Here

I am shifting out to the side.
4 / continue to move around, bringing my left leg completely in

front of my opponent.
5 Holding my opponent tight to my chest, I use my legs and

hips to lift him clear oft the mat.
87
6 With my opponent now well off the mat, I begin to fall

backward and arch.
88
7 lamina high arching position. My opponent is now going for

a ride towards his back.
8 As my opponent lands on his back, I continue my momentum, coming around behind.
89
9 / come up to the top for the takedown.
90
8.11 Stan Dziedzic executes the near ankle breakdown. Stan used this technique to score the tie breaking point
against Ashuraliev, 2 time World Champion, in the Montreal Olympics.
1 / am beginning to move behind my opponent.
2 / have now dropped my hand down to my opponent's instep.

Notice I am driving forward in order to shift my opponent's weight
onto his hands.
91
3 / am stepping inside my opponent's far leg.
4 / am beginning to lift my leg to force my opponent down.
92
5 / drive my opponent down for a takedown.
93
8.12 Stan Dziedzic demonstrates how to scoop the near
1 My opponent is resisting a takedown by maintaining the

tripod position. I am now driving forward, forcing his weight onto
his hands, while my right hand is cupped over his deltoid.
2 ( scoop his leg out with my left leg. Concurrently, I slide my

right hand in front of his bicep.
94
3 By arching my back, chopping my opponent's arm, and pulling his leg up and back, I drive him to the mat.
4 / now have the takedown.
95
8.13 Ben Peterson shows how to perform a crotch lift when his opponent is in the tripod position.
1 My opponent is resisting the takedown

by remaining in a tripod position with his
weight on his hands.
2 I shove my inside leg between my opponent's legs. This transition must be made
quickly to prevent him from coming up.
3 With my hands now locked, I drive all

my weight off my inside foot. Note my arms
are wrapped tightly around my opponent's
leg and my side is pressed against his lower
back.
96
4 / continue to drive, which puts a great

deal of pressure on my opponent's lower
back.
5 / am now lifting my opponent.
6 I just continue through, jerking with my

arms and turning my head away from him.
This, of course, is worth two points in the
international style of wrestling.
97
8.14 Stan Dziedzic illustrates the "jam." This technique is utilized often in international competition.
1 My opponent is resisting a takedown by maintaining the

tripod position. In this figure I begin to step out to the side. Note I
have my hands locked tightly around my opponent's chest.
2 lam using my momentum to force both all my weight and all

my opponent's onto his near arm.
3 At this point I maintain my momentum, jerking my right

elbow back into my opponent's hip and driving my left elbow forward into his shoulder to force him down to his knees.
4 / must continue to stay square on my opponent to avoid being switched as the momentum carries us to the mat. Timing and
use of momentum is the key to the success in employing this
technique.
99
8.15 Let's take a look at this same technique from a different angle. From this perspective you can imagine
the force of my shoulder into the back of my opponent's shoulder.
**>
100
8.16 Stan Dziedzic pulls his opponent back to acquire a takedown.
1 Since my opponent has distributed more of his weight to the

rear and maintains a wider base, instead of jamming him forward,
I am going to pull him backward. It is important that a wrestler is
able to feel the shifting of his opponent's weight in this position.
2 / move behind my opponent to generate torque.
3 Using this torque, I drop to my knees, shifting my weight

down and back. Note by holding my opponent's hips tightly, I pull
him along with me.
101
4 When my opponent hits the mat, I maintain an even position

behind him. This position helps me counter any switches or rolls.
102
5 / continue to pivot around for the takedown.
9 Low SINGLE LEG
wrestler who is unable to execute a low single

effectively restricts his scoring possibilities. He
is also more predictable than a wrestler who can perform the technique competently; consequently, an
opponent will be able to thwart his attack more
easily.
It is important, however, for a wrestler to be able
to distinguish when he should go to his knees or
stay on his feet when attempting a single. The illustrations in this chapter will assist a wrestler in
making this differentiation.
Lloyd Keaser, 1976 Olympic Silver Medalist, attempts a low single on his Bulgarian opponent.
104
LOW SINGLE LEG
9.1 Stan Dziedzic demonstrates how to post your opponent's weight on his lead foot, penetrate to a low single,
and drive to your feet.
1 Leading with his right foot, my opponent has secured a

double bicep tie-up. If I am able to post his weight on his lead
foot, I shall create ideal conditions for shooting a low single leg.
2 * In order to cause my opponent to post his weight on the lead

foot, I drop my weight and pull down hard on his left arm. At the
same time, I step in with my left foot.
3 Here I am in deep on a low single. I am careful not to overreach or extend myself beyond my base as I keep my head up and
back straight.
105
4 I step up with my right foot and drive into my opponent. I

should emphasize I pull my right elbow tight to my side.
106
5 / have secured the single and am ready to finish the

takedown. (Chapter 11 illustrates numerous finishes from this
position.)
LOW SINGLE LEG
107
9.2 Dan Gable shows how to get past your opponent's arms, penetrate to a low single, and pivot to your feet
1 My opponent is posting both arms on

my shoulders while maintaining inside control. This creates the conditions for my
single leg attack.
2 / dip my shoulder to give me the proper

angle tor attack. Notice I have lowered my
stance, but I am not bending over as I step
forward.
3 ( continue into my opponent, dropping

to my back knee and inside hand.
108
5 Still moving around behind, my left

hand is pulling my opponent's shin toward
me. This posts his hip which prevents him
from turning Into me.
LOW SINGLE LEG
4 In this photo I have shifted my drive into my opponent. This Is very important. I
can't hesitate In this position.
6 Here my opponent has sprawled and

dropped his weight on top of me. I want to
point out that I am supporting his weight on
my inside hand. I also continue to spin
around my opponent, and my arm Is still
tightly wrapped around his leg.
109
7 / begin to come up, still driving into my

opponent, forcing his weight to the far foot.
8 As / continue to drive into my opponent, the weight is coming off his near foot
allowing me to move around into position
for my single leg.
9 / am now up on my feet and have control of the single leg. (See Chapter 11 for
finishes from this position.)
110
LOW SINGLE LEG
9.3 Jim Humphrey executes a low single and spin behind.
a/L
.12*
^s:
fi~
1 We are both in open stances.
2 My opponent reaches out to tie-up with

me. This creates conditions that enable me
to post his arm and penetrate for a single.
This maneuver requires precise timing and
sufficient speed.
3 / am past my opponent's arm and approaching his leg. I must emphasize my

back is straight with my head up. Since I am
covering a long distance, it will be
necessary for me to drive to my knees to
maintain a good base.
4 / have continued to drive to my knees and have been able to

spin completely around my opponent. From this position I drive
into his leg; this causes him to shift his weight to the far foot to
maintain his balance.
111
5 This shift of my opponent's weight enables me to continue

my spin and pick up his leg with little effort.
112
6 At this point my opponent has his weight on his hand and I

am beginning to move up so I can capture his free leg.
LOW SINGLE LEG
7 I have secured my opponent's free (far) leg and need only to

move up for a takedown.
113
9.4 Stan Dziedzic, in these eight pictures, lifts his opponent, grasps his wrist, and throws him to his back.
This technique, although available, is often overlooked by both beginners and experienced wrestlers.
1 / am beginning to penetrate for a low single leg. I am careful

not to extend beyond my base as I step in deep with my head up
and back straight.
2 My opponent counters by pushing my head down,
114
3 I react quickly, planting my right hand and ducking between

his legs.
LOW SINGLE LEG
4 Here I push myself up with my right hand as I begin to lift

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

mat.
115
6 Now upright, I grasp my opponent's wrist which is around my

waist.
116
LOW SINGLE LEG
fi
7 / force my opponent to his back by throwing myself back

while yanking his wrist across my abdomen.
8 As my opponent lands on his back I control his wrist and

drive on top of him.
117
9.5 Stan Dziedzic finishes a low single by lifting his opponent and coming out the back door.
1 Once / have my opponent lifted oft the mat, there are several
techniques I can employ to finish the takedown.
2 In this finish, I first straighten my body and grasp behind my

opponent's knee with my right hand. Simultaneously I step up
with my left foot.
118
3 As I pivot around on my right knee, I pull my opponent's leg in

tight. I also reach over his ankle with my left hand.
LOW SINGLE LEG
4 Dropping to both knees I release my opponent's leg to reach

for his hip.
5 Having a hold of his hip I step up with my left toot. I should

emphasize I am pinching his ankle between my thigh and side.
119
120
LOW SINGLE LEG
9.6 In these photos Stan Dziedzic demonstrates another maneuver that can be used to finish a low single once
you have your opponent lifted off the mat.
1 In this finish, I first straighten my body and grasp and pull

down on my opponent's knee with my left hand. I push up on his
thigh with my right hand.
2 As I pivot around on my left knee, I continue to pull down on

my opponent's right leg. I also continue to push with my right
hand, thus turning my opponent.
3 Here my opponent has landed on his back. I will try to move

up and acquire a pinning combination.
121
122
LOW SINGLE LEG
9.7 Stan Dziedzic shows how to recover after your opponent has thwarted your initial attack
1 Leading with his right foot, my opponent has secured an inside-outside tie-up. If
I am able to post his weight on his lead toot,
I shall create ideal conditions for shooting
a low single leg.
2 * In order to post my opponent's weight

on his lead toot, I drop my weight and pull
down hard on his left arm.
3 / begin to penetrate tor the single leg. I

am careful not to overreach or extend
myself beyond my base as I step in deep
with my head up and back straight.
123
4 My opponent counters by pulling his

leg away and dropping his weight. This has
moved me beyond my base and forced me
into an awkward, unbalanced position.
5 / am now in a vulnerable situation and,

unless I react quickly, I will most certainly
lose this takedown.
6 At this point I release my grasp so I can

push up with my right arm. At the same time
I drive into him.
124
7 In this picture my drive is more apparent as I step up with my

right foot.
LOW SINGLE LEG
8 My drive has taken the weight off both knees. Observe that
my opponent's wrist is around my waist. This along with his body
position creates the conditions tor the technique that follows.
9 / grasp my opponent's wrist with my opposite (inside) hand

and begin to slide my left knee under. This action will force his
weight over the top of me.
125
10 / continue to my knee, lifting my head and pulling down on

my opponent's knee and wrist as it I were executing a wrist roll.
126
11 I carry through with this action and my opponent is now off

balance and falling to his side.
LOW SINGLE LEG
12 Once my opponent hits the mat, I continue over the top of

him and into his chest. I must not release his wrist, which I hold
more securely by keeping my right arm tight against my body.
9.8 Opposite side view of the previous technique.
127
128
LOW SINGLE LEG
* iti
,1
129
130
LOW SINGLE LEG
9.9 Don Behm executes a low single into a duck under, a technique he completed many times en route to winning
silver medals in two World and one Olympic games.
1 My opponent has my wrists, but I have inside control on the

far side.
2 * At this point I attack my opponent, making him feel as if he

can counter the single leg because of his control of my wrist.
3 / now pull the wrist, shifting my opponent's weight over the

top of my shoulders. At the same time I am beginning to step up
with my right toot.
131
4 ( step up deep with my right toot while pulling the hand over
the top of my head, raising my shoulders.
132
5 / continue to my right knee, looking over my left shoulder and

driving my opponent to the far side.
LOW SINGLE LEG
6 Covering my opponent, I look for the fall.
1 0 CREATING FAVORABLE CONDITIONS FOR THE SINGLE LEG
here are three parts in executing a takedown;

creating favorable conditions (set up), attack,
and finish. This chapter shows four different conditions and the subsequent attack. The purpose is to
isolate these segments of a single leg attack.
Chapter 12 illustrates numerous other single leg setups and attacks together with their appropriate
finish.
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^ ,
"
Russ Hellickson about to arm drag his Bulgarian

opponent in the 1976 Olympics.
CREATING FAVORABLE CONDITIONS FOR THE SINGLE LEG
134
10.1 Stan Dziedzic executes an arm drag set-up for a single.
1 As a ploy I rest my hand on my opponent's shoulder. He reacts and grasps my

wrist.
2 As soon as my opponent seizes my

wrist, I pull my hand down in order to place
his arm in position for an arm drag. Notice I
rotate my palm down which turns my opponent's palm and thus exposes his arm. At
the same time, I reach up to start the arm
drag.
3 / break his balance here by jerking his

arm and driving in with my body. Note my
right hand is deep around my opponent's
leg.
4 I now have my opponent's leg secure. I

should emphasize I haven't released my opponent's arm. Until I get his weight shifted
to the far foot, I shall not release It. I am
also starting my penetration and driving into him.
135
5 I have my opponent's weight shifted to

the far foot. I let go his arm and am about to
secure a tight hold on the single leg.
6 I have the single leg in the proper position and shall look for a favorable finish,
136
1 0 . 2 Stan Dziedzic demonstrates how to secure a single when your opponent attempts to counter the 2 on 1 tie-up.
1 / am controlling the two-on-one.
2 My opponent reaches out to counter

the two-on-one by grabbing my elbow. This
creates conditions for a single to the far
leg.
3 Capitalizing on these conditions, I

reach out with my left hand for my opponent's far leg. I make sure I keep my back
straight and head up while I step in with my
left foot and drive into my opponent.
4 ) continue to drive into my opponent. Notice the position of

my arms and that my back is still straight and my head up. As you
can see from his position, my opponent's weight is shifting to the
rear.
137
5 ( now have secured the leg.
138
10.3 Stan Dziedzic shows how to clear your opponent's collar tie-up and capture a single.
1 My opponent has a collar tie-up with his

elbow inside. This makes it very difficult tor
me to come inside his arm. Instead, I begin to
turn, putting pressure on my opponent's
shoulder. Notice my left arm is inside, between my opponent's chest and my chest.
2 I have been able to force my opponent

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

squat down, reaching my left arm around
his near leg to secure the single leg. I must
be sure not to let go of my opponent's wrist.
4 Only after I've driven in deep, forcing my opponent to shift

his weight to his tar leg, do I release his wrist and lock my hands
on the single leg.
139
5 / now have a single leg position and shall look tor the appropriate finish.
142
5 Aided by the additional pressure of my hand driving across

his neck, I continue to force into my opponent, scooping with my
left leg back and down until it lands on the mat.
6 / have control of the leg and shall look for my finish.
1 1 FINISHES TO THE SINGLE LEG TAKEDOWN
he most complicated phase of the single leg

takedown is the finish. This chapter contains 19
finishes. Chapter 12 illustrates additional finishes
as part of the complete technique.
A Japanese wrestler about to finish this single on

his Soviet opponent.
144
FINISHES TO THE SINGLE LEG TAKEDOWN
11.1 Stan Dziedzic finishes this single leg by capturing the far leg.
1 / am in tight on a single leg. Notice my head is to the inside.

My left leg is forward and turned in, my elbows are in, and I am
pulling my opponent's leg tight to my abdomen.
2 / step with my left leg, turning my knee in while grabbing his

far knee. I should emphasize that as I hook the far knee, my elbow
is in, thumb completely on the outside of the far leg, and left arm
is ready to post to catch my balance.
3 Here I am continuing to pull my opponent's leg tight to my

chest. My far arm is out for a brace.
145
4 My far arm brace maintains my balance so my opponent is

unable to pull me up or elevate me over.
146
1 1 . 2 Stan Dziedzic shows how to block in front of the far leg.
1 / have my opponent's leg pinched between my thighs. My outside hand is over

the top of my inside hand, and my back Is
straight. Notice my elbows are In while my
neck is bulled and shoulders are shrugged.
2 If my opponent's leg Is within reaching

distance, I start to reach down with my Inside hand to the Instep while my other arm
drops to block his far leg.
3 / am stepping over my opponent's leg,

putting it to the outside. At the same time I
shift the arm blocking my opponent's far
leg to his near knee In order to yank it upward.
4 Now I have my opponent's leg tightly controlled. It is important that my arm is wrapped deeply around the leg and I do not
grab the heel with my hand. This precludes my opponent from
breaking my grip and kicking free.
147
5 As my opponent straightens up to maintain his balance, I

reach up with my left arm for an underhook.
148
6 ' now pull back on the underhook and block my opponent's

far leg so he loses his balance.
7 My opponent is losing balance and falling down.
149
11.3 Stan Dziedzic executing what is sometimes referred to as "running the pipe."
1 My opponent has an overhook, and his leg is between my

legs.
2 I create momentum by stepping with my right toot toward the

center, as I begin to pull away counterclockwise.
150
3 / draw my opponent's leg between my

legs; at the same time I step back with my
left foot.
4 Now that my opponent is on the mat, I

shall move up for the takedown. I should
emphasize I have not yet gone down to my
knees; instead I am squatting. This
maneuver prevents him from pulling me forward.
5 / go down to my knees to complete my

takedown only after my opponent is down
on the mat. This foils his counters.
151
1 1 . 4 Stan Dziedzic demonstrates how to run the pipe when your opponent has his leg to the outside.
1 My opponent has an overhook, and his captured leg blocks

my thigh.
2 f create momentum by stepping toward the center.
152
3 / am now drawing my opponent's leg tight between my legs;

at the same time I am kicking my leg deep in back to break the
control he has with his outside leg.
4 Now that my opponent is on the mat, I shall move up for the

takedown. Notice I have not yet gone down to my knees.
5 / now go down to my knees to complete my takedown only

after my opponent is down on the mat. This foils my opponent's
counters.
153
154
1 1 . 5 Russ Hellickson shows how to change your direction and force your opponent to his hands. Russ used this
technique against several of his opponents en route to winning a silver medal in the 1976 Olympic games.
1 With the single leg secured, I begin to

move in a circular direction away from my
opponent.
2 He counters this motion by turning

(opening) his hips and bringing his tree leg
in closer to me. This creates the conditions
tor the following maneuver.
3 As I step over my opponent's leg, I jolt

him forward by thrusting my shoulder into
the back of his knee. As I initiate this action, I shift my inside hand down to his
ankle.
155
4 / now move over the top of my opponent's leg as he falls off balance. At the
same time my inside hand slides down to
his instep.
5 With my right hand on his hip, I kick my

opponent's support leg out, forcing him to
his knees.
6 To finish, I drop down on top of my opponent, pressuring him to the mat.
156
11.6*
Stan Dziedzic completes the single leg by scooping his opponent's far leg. Soslan Andiev, 5 times Gold Medalist
from the USSR, often utilized this finish.
1 / have a single leg tackle, but my opponent is countering me by keeping his leg to
the outside.
2 Because my opponent does not have

an overhook, I am able to jerk up hard and
quickly, straightening my body.
3 / now hook my right leg above or at my

opponent's knee, as I lift up. At the same
time I drive into my opponent.
157
RT &mtm4 / draw my opponent's leg in as / drive him toward his back.
5 My opponent lies on his back. I move up, looking for the pin.
158
1 1 . 7 * Dan Gable demonstrates a slightly different variation of the previous finish.
1 I have a single leg secured.
2 I step back with my left leg to give me

space to lift my opponent's leg to the outside.
3 Now I lift my opponent's leg high and

to the outside. It Is Important to note I also
have his tar wrist.
A * lam beginning to step in deep to scoop

my opponent's far leg for the turn.
159
5 / now have the leg pulled in and drive

into my opponent, trying to drop him on his
back.
6 I have pulled my opponent's far wrist in

and have lifted his leg higher, trying to
rotate him to his back.
160
7 My opponent falls to his back, and I move up to secure the

fall.
161
1 1 . 8 Dan Gable, instead of scooping, also blocks his opponent's front foot from this position. I'm certain many of his
opponents remember how well Dan used this technique.
1 Here I have my opponent in a single leg

with his left foot resting on my right thigh.
2 / yank up behind his knee, bringing his

leg Into my armpit. At the same time I bring
my right leg up keeping his foot to the outside.
3 / am pulling his knee tight to my chest

and am twisting as I pull my opponent off
balance.
162
4 In this photo I am blocking my opponent's right foot with the

arch of my left foot, breaking his balance.
5 / have my opponent's ankle held tightly and his weight is on

his hands. I need only to move up for the takedown.
163
11.9 Russ Hellickson shows how to maneuver your opponent's leg to the inside and finish for the takedown.
1 Here I have my opponent in a single leg

with my hips close and his knee pulled tight
to my chest.
2 ( thrust my hips forward, forcing my opponent's foot to the outside.
3 / wrap my arm deep around my opponent's ankle. Notice I am keeping my elbow

tight to my chest and am moving as I pull
my opponent off balance.
164
4 Now I am beginning to raise my right

hand toward the hand pushing against my
shoulder.
5 / am moving upward on my opponent's

leg.
6 / move back in toward my opponent,

pushing his hand off my shoulder, thus forcing him off balance forward.
165
7 I now step up with my left foot, blocking my opponent's left

leg to prevent him from stepping and maintaining his balance.
8 / continue for the takedown.
166
1 1 . 1 0 Stan Dziedzic performs what is commonly called a Heave-Ho.
1 My opponent is bending his leg up so I

am unable to pinch it between my knees
and control the bottom part of his leg. This
counters a variety of finishes but opens my
opponent for this finish, called the heaveho.
2 / start to move away and step back

with my left leg.
3 Having taken a deep step with my left

leg, I begin to bring my opponent's leg
down.
167
4 ( am continuing to move away while yanking my opponent's

leg upward.
5 / am still lifting my opponent's leg as high as possible.
168
6 * My opponent is now down on his

hands, and all his weight is going forward. I
am beginning to look for my takedown.
7 Here I am about to cover my opponent

for the takedown.
8 / secure the takedown.
169
1 1 . 1 1 In these six photos Dan Gable clears his opponent's leg to the outside and finishes the single by grasping
his far leg.
1 * In this photo, I have the single leg

secured.
2 / step back with my left leg to create

space to pull his left leg to the outside. I
also drop my left hand down to the inside of
my opponent's ankle.
3 Notice my opponent's leg is bent. I am

now stepping in, driving toward the far leg
while reaching out to catch my opponent's
leg at the knee.
170
4 / now have my opponent off balance

and have secured his far leg.
5 ( continue to drive in and try to pull the

leg out. Observe the grip on the inside
ankle.
6 / now have my takedown and will look

to move up for back points.
171
1 1 . 1 2 Instead of grasping the far leg, Dan demonstrates a different finish from the same starting position
1 / now have the leg secured.
2 ( drop back with my left leg to create

room to pull my opponent's leg to the outside. I am also reaching down with my left
hand to grasp the Inside ankle.
3 Now controlling the ankle, I drive into

my opponent, twisting his leg as I pull down
on the knee. Simultaneously I shift to the
outside and lift up on his ankle.
172
4 / continue to turn, both to put pressure

on my opponent's leg and to force him to
the mat.
5 / continue to rotate.
6 / keep turning as I pull on the knee.
7 / have pressure on my opponent's knee causing him to fall

forward.
173
8 Since my opponent's weight is on his hands, I will move up to

acquire my takedown.
1 / am trying to resist as my opponent

counters by pushing my head down.
2 My opponent has driven my head down

so forcefully I am no longer able to resist.
Instead, I duck under my opponent's leg.
3 / drop down to my right knee, duck

under my opponent, planting my right hand,
while trying to lift my opponent off the mat.
175
4 / now have lifted my opponent off the mat. I am reaching for

his other leg because my body is slightly turned in that direction.
5 / pivot, trying to come out behind my opponent's leg.
176
6 / am now behind my opponent's leg, attempting to secure it

tight to my chest so he can't kick away.
7 I am now moving up for my takedown.
8 / have secured my takedown, keeping the leg up and looking

for a possible turning situation.
177
178
1 1 . 1 4 Dan Gable shows how to duck under your opponent's leg in a slightly different situation.
m
1 At this point I turn my shoulder and
arm into my opponent to make him
straighten his leg.
2 My opponent is now straightening his

leg. I release my grip and begin to look for
the duck under.
3 I am now ducking under my opponent's

leg, dropping down to my knees.
179
4 I am now on my knee and beginning to

raise up.
5 As / lift the leg, I start to turn toward it.
6 Continuing to lift and rotate into my

opponent, I now grab his far leg. I should
emphasize I am rising up forcefully.
180
jT
"
7 While still turning on his leg, I begin to move up.
8 Having completed my turn, the takedown is mine.
181
1 1 . 1 5 Stan Dziedzic shows how to finish a single leg when your opponent is controlling the wrist.
1 My opponent Is trying to break my

secure hold on his leg by working on my inside wrist.
2 / break my opponent's control of my

wrist with my opposite or free wrist.
3 After I break his control, I step away

and over my opponent's leg with my right
leg, reaching down with my Inside hand to
secure his ankle.
182
4 / now have his ankle and am pulling it

up beyond the outside of my hip.
5 ( raise my right leg up, holding the knee

tight to my hip, a maneuver which gives me
a more secure hold of my opponent's leg.
6 / now move away, drawing back on my

opponent's shoulder while blocking his far
leg.
7 My opponent loses his balance and is falling. I am looking to

complete the takedown.
183
8 / moire up, keeping control of the ankle, on the alert for a turn.
184
1 1 . 1 6 Stan Dziedzic demonstrates how to finish the single leg when you have the leg to the inside.
1 / have my opponent's leg tightly controlled. Notice my right arm wrapped deeply
around the leg and I do not grab the heel
with my hand. This precludes my opponent
from breaking my grip and kicking free.
2 Since I am unable to acquire an

underhook, I drive off my right foot and
push my opponent forward,
3 I continue to drive my opponent off

balance,
185
<fcV\s
I
4 Now that my opponent's weight Is on
his hands, I move to the lar side.
5 As ( shift to the tar side to gain control,

I maintain my grip on the Instep.
6 Keeping the same grip on the instep, I

move up high, always alert for some kind of
counter.
186
1 1 . 1 7 In this series of photos Stan Dziedzic illustrates another option when you have your opponent's leg to the inside.
1 / have my opponent's leg to the outside and high. Generally,

this is the easiest position to finish the single leg. My opponent,
however, is keeping me low on his ankle, making it more difficult
for me to finish. This is a rare occurrence. I am usually able to
finish this takedown in a more conventional manner.
2 / begin to raise my opponent's ankle and leg up by pulling up

with my right hand. At the same time, I begin to duck under my opponent.
187
3 My head and shoulder are now under

my opponent's leg. Notice I am still holding
his leg, my back is straight and I have dipped my weight down low.
4 I now come into my opponent, trying to

control his body. The tighter I am to my opponent, the easier it will be to control him.
5 / have control of my opponent's body

and I am reaching for his far shoulders so I
can take him to his back as he falls. It is important to lift with all my power in this position.
188
6 / have my opponent completely off the ground. My only concern is that I set my opponent down to his back, maintain control
and do not slam him.
7 / now continue for control to get the takedown and hold my

opponent tor the fall.
189
1 1 . 1 8 Gene Davis shows a variation of the previous technique.
1 In this position I have my opponent's

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

begin to come up.
3 / continue to come up, staying tight to

my opponent while trying to control his
hips.
190
4 / now have my opponent's hips under

control and begin my lift.
5 / have lifted my opponent,
6 ( turn my opponent so he will be on his

back when I set him down.
191
7 / am now letting my opponent down to

his back.
8 / continue down toward the mat.
9 He is now on his back, and I am looking

to control him for the fall.
192
1 1 . 1 9 Gene Davis finishes this takedown by putting pressure on his opponent's knee
l
1 / have my opponent's leg to the inside and up in the air. I can

take him down from this position very easily.
2 I have my opponent's foot on top of my shoulder and am

beginning to move up on the leg.
3 I am now high on the leg. My shoulder is behind my opponent's calf, while my hands are above his knee on his thigh.
193
4 / start to move away and circle to my left, putting pressure

down on my opponent's thigh.
194
5 As I continue to move away, my opponent is beginning to fall

to his back.
6 / continue to keep the pressure down on the thigh and up on

his calf with my shoulder while holding my opponent to be sure he
will land on his back.
1 2 SINGLE LEG IN ITS ENTIRETY:

CREATING FAVORABLE CONDITIONS, ATTACKING AND FINISHING
ixteen complete single leg takedowns are illustrated here, indicating the favorable conditions,
attack, and finish. These are not meant to exhaust the
combinations. There are hundreds of different possibilities.
Those illustrated will, however, show how to perform the single leg takedown properly.
Tediashivilli, 1976 Olympic champion, controls the

leg of 1972 Olympic champion Ben Peterson in the
1973 World Cup.
SINGLE LEG IN ITS ENTIRETY
12.1 Stan Dziedzic uses an arm
to acquire the single leg and a far
1 My opponent has created the conditions illustrated here by grabbing the hand
I've placed on his shoulder.
2 Taking advantage of these conditions,

I pull my opponent's arm down and drag.
knee block to finish it.
3 / continue to hold my opponent's arm

as I lower my level and step in with my outside foot for a single leg.
197
A * To secure the single leg, I keep driving

forward, and lower my level even more.
5 / maintain my momentum, driving into

my opponent to force his weight onto his
far foot. This allows me to pick up the single
leg easily.
6 Now I am beginning to move behind my

opponent; at the same time I drop my
shoulder, block his far leg above his knee,
and drive him forward.
198
7 / move further behind my opponent. Although it is difficult to

see, my left hand has slid down to his ankle.
& My opponent falls; I cover for the takedown.
199
12.2 In these six pictures Stan Dziedzic employs the same finish used in the previous section 12.1, but secures
the single by using his inside-bicep tie-up.
1 / have an inside control tie-up.
2 In order to take advantage of these

conditions, I yank my right arm back. This
breaks my opponent's balance. Simultaneously, I hook his calf with my left hand. I
must make certain, when I lower my weight,
I keep my back straight and head up.
3 / now have a single secured with my

head in my opponent's ribs. I must emphasize I am pulling my elbows in, shrugging my shoulder, and keeping my back
straight.
200
4 / drop my right shoulder behind my opponent's near thigh and block his far leg,
above his knee, with my right hand. I also
slide my left hand down to his shin while I
begin to move behind.
5 Now that I've broken my opponent's

balance, I continue to move behind him and
slide my left hand down to his ankle.
6 When my opponent falls forward, I am

ready to cover for my takedown.
12.3 This is the opposite side view of the previous technique.
201
202
203
12.4 Stan Dziedzic again utilizes the arm drag to secure the leg but finishes by blocking the far foot.
1 My opponent creates the conditions

for an arm drag-single leg combination by
grabbing my wrist.
2 / quickly pull my hand downward.

Notice my opponent is still grasping my
wrist.
3 ( take my arm drag. It is important that

the arm is tight to my neck, my head is to
the inside, and my outside arm is free to
reach for my opponent's leg.
204
4 With my free hand, I take his leg. At the

same time I drive into him.
5 / continue to drive as I begin to step

forward with my left leg. I must be certain to
pull my opponent's leg between my legs.
6 / have my opponent's far leg blocked

with my left foot, his weight is beyond his
base, and he is beginning to fall.
205
HM
7 My opponent is breaking his fall as I move up to maintain

control.
8 / now cover for the takedown.
206
12.5 This is the opposite side view of the previous technique.
207
208
12.6 Russ Hellickson fakes an arm drag to obtain his opponent's leg, pinches the near leg and grasps the far leg
to finish the single leg.
1 / grab my opponent's wrist to fake an

arm drag.
2 My opponent pulls his arm back, opening himself up for a single leg, so I step in. It
is important that I am lowering my level as I
reach out. My back is straight, and my
weight is over the top of my base rather
than extended beyond It.
3 / continue to step In deeper, bringing

my back (or drive) foot forward. As I
penetrate, I pull my opponent's leg In.
4 Now that I have my opponent's leg secured, I begin to move

away, forcing him to bring h/s free leg closer and to rotate his
hips.
209
5 As my opponent completes the rotation of his hips, I shift my

direction, driving my chest Into him. I must emphasize that I keep
my knees together. By keeping my knees together I prevent my opponent's leg from going down to the mat.
210
6 / continue to drive as I drop to my knees and pull my opponent's leg in tighter. Notice I am keeping my elbows in to give me
added strength tor holding his leg.
7 / maintain my momentum, landing on top of my opponent.
1 2 . 7 From the underhook tie-up Russ Hellickson shows how to drop to a single and finish by capturing his
opponent's far leg.
1 My opponent reacts to my underhook by leaning his weight

over top of my arm.
2 To take advantage of this position, I lower my weight and

step in to capture my opponent's leg. I must be sure not to lean
over and lose my balance.
212
3 ( bring my underhook arm down to secure the single leg.
4 / now begin to move in a circular motion away from my opponent. Again notice the correct position of my back, arms, and
legs.
5 * To maintain his balance, my opponent brings his tar leg in

closer to me.
213
6 To capitalize on this situation I thrust my body into his leg. At

the same time I grab my opponent's far leg with my front hand.
214
7 / continue my momentum forward as I drive my opponent to

the mat.
8 / move up for the takedown.
UL
215
12.8 Again Russ Hellickson drops to a single from an underhook tie-up, but this time finishes differently.
1 / lift up with my underhook causing my

opponent to pull back and to post his
weight on his near leg.
2 As / reach for the single leg, I lower my

level by dropping my hips, at the same time
keeping my back straight and head up.
3 My opponent begins to counter the

single leg by forcing his weight on top of my
head.
216
4 / lift up with my underhook causing my

opponent to pull back and to post his
weight on his near leg.
5 ( continue to drive Into my opponent. A

key point in this technique is to pull his leg
in tight, as I am doing here.
6 / keep driving for the takedown.
217
12.9 From the underhook tie-up Dan Gable demonstrates how to seize the single leg and finish by running the pipe.
1 / have an underhook. My opponent's

weight is forward and shitted to his far foot
which creates a condition to set him up for
a single leg.
2 As I step back with my right foot, I also

drive in and force my opponent's shoulder
upward. Notice my left hand is reaching
down to secure the leg.
3 / continue to drive in, lifting his

shoulder with my underhook as I pick up his
near leg.
218
4 / now have my opponent's leg off the

ground and am ready to move to the proper
single leg position.
5 I have the single leg position I desire.
6 My opponent's weight is shifted back.

This creates the condition for "running the
pipe."
219
7 I step inside with my left foot and begin

to drop my weight down and away.
8 I continue to pull my opponent's leg,

forcing him to lose his balance. It is important that I do not go down to my knees.
9 My opponent has hit the mat. I shall

now look to move up and secure my
takedown. Note I did not go down on my
knees with my opponent, but instead
stayed on my feet to stabilize my position.
220
12.10 Gene Davis fakes an arm drag to capture his opponent's leg and runs the pipe to finish it. Gene's Mongolian
opponent in the 1976 Olympics should remember this technique.
1 / have my opponent's wrist, and I'm beginning to feint an arm

drag.
2 My opponent has reacted to this fake by yanking his right

arm and right leg back. I am now moving to attack his left leg.
221
3 I am deep on the leg, and continue this momentum by driving

into my opponent.
4 I snatch my opponent's leg up between my legs,
222
5 / begin to circle back and to my left.
6 My opponent's free leg is beyond my reach. Therefore, I step

to the center, forcing him to step back.
7 / continue this action, dropping my opponent to his butt.
223
8 This force carries my opponent to his back. I must emphasize

that I am squatting. This prevents him from pulling me over.
224
12.11 Russ Hellickson shows how to clear the collar tie-up, attack for a single, and run the pipe. Russ's opponents
feared this technique the most.
1 My opponent has a collar tie-up. I am

reaching up to secure the 2 on 1 in order to
break his control.
2 I am now turning and pulling oft my opponent's collar tie-up. At this same time I
take a small step backwards with my right
foot in preparation for my attack.
3 Having cleared my opponent's tie-up, I

force his arm across in front of his body,
This action shifts his weight onto his tar
foot. Simultaneously, I lower my level and
begin my penetration step.
4 With my opponent's weight shifted to

his far foot, It is easy to reach out and pull
his leg in. As usual, It Is important for me to
keep my back straight and head up.
225
5 I now have taken a single leg and begin

to step away with it in a circular motion.
6 / continue to step back in a circular

motion clockwise,
226
7 Although my opponent is keeping his

far leg beyond my reach, by doing so he
makes himself vulnerable to my next technique. I must emphasize I am not swinging
my opponent around; nor am I thrusting my
chest down; instead I am pulling his leg between my legs as I squat.
& As my opponent falls I make certain I

do not go to my knees; rather I maintain my
position by squatting lower and bringing my
right leg around.
9 Although my opponent is on the mat, I

am still on my feet holding his leg. At this
point, I will bounce on him to acquire a
takedown,
227
12.12 In these nine photos Russ Hellickson demonstrates flawlessly how to acquire the single leg when your
opponent has a shoulder tie-up and the subsequent finish.
1 / am now hitting my opponent's arm

upward, opening the way for my single leg
attack. As I post his arm, I am also beginning to step in tor my single.
2 / step in deeply. Notice the position of

my back, head, and legs. My weight is low,
back straight, head up, and legs are bent,
3 / now start to pull my opponent's leg

back and circle clockwise,
228
4 / continue to circle and step as I pull

my opponent's knee tightly to my chest.
5 Thrusting my hips forward, lifting my

opponent's knee, and rotating outward, I expose his lower leg.
6 I now slide lower on my opponent's leg.

I should emphasize my elbow and arm are
tight around the leg to prevent my opponent
from peeling my wrist or kicking free. I am
also beginning to raise my right hand to
cover the knee.
7 / now step backwards In a circular

direction away from my opponent. This
means I step to the Inside and front with my
Inside foot as I step back with my outside
foot; since this motion Is a key point of
many variations of the single leg, It should
be understood well.
229
8 I continue to move and to squat. Notice

I am not bending at the waist but rather
lowering my level, squatting down with my
hips and bending my legs.
9 f cover for the takedown.
230
12.13 Russ Hellickson shows how to employ the 2 on 1 tie-up to obtain the single leg and how to use your inside
arm to assist in taking your opponent down.
1 / have my opponent in the tie-up. Here I

pull down on his arm, causing him to resist
and post his weight on his near foot.
2 As soon as my opponent's weight is

posted on his near leg, I step in for my
single. Notice my position: my back is
straight, my head is up, and I lower my
weight.
3 / now have control of the single leg and

am beginning to move in a circular motion,
4 As I continue to move in a circular direction away from my

opponent, I rise up while maintaining my stable position with my
head up and back straight.
231
5 Since my opponent has turned his hips in and is off balance

towards the rear, I reach up for his neck, being careful to keep my
elbows in.
232
6 While my opponent falls, I lower my level by squatting down.

Although the bend In my knees Increases, I continue to keep my
back straight and head up.
7 My opponent hits the mat and I stay on my feet, ready to

cover for the takedown,
12.14 Russ Hellickson uses the inside bicep tie-up to secure his opponent's leg and the Heave-Ho to finish for the
takedown.
1 / raise my elbow out to the side, opening the way tor my single leg.
2 Notice my position as I penetrate for

my single leg. My hips are low, legs bent,
back straight, and my head Is up.
3 I move In a circular direction away from

my opponent, pulling him off balance.
234
4 / now stop my momentum, step back

with my outside leg, and lift my opponent
up. Timing is very important in this
maneuver.
5 I begin to pull with both arms as I reach

with my left leg to his far foot.
6 / continue to pull until my opponent

hits the mat and I acquire a takedown,
235
12.15 Russ Hellickson knocks his opponent's arm off his shoulder, captures the leg, and finishes the takedown with
a variation of the Heave-Ho.
1 Controlling the inside with my tie-up, I

have created the condition for a single. It is
important to react quickly.
2 / release my tie-up and step in while

reaching for my opponent's leg.
3 / continue to penetrate as I maintain

my center of gravity over the top of my
base. Notice I do not extend beyond this
base; I simply have lowered my level and
have driven my body and legs forward.
236
4 / now begin to move in a circular direction away from my opponent.
5 f step back with my right foot to clear

the way for my opponent's leg.
6 ( left my opponent's leg high. At the

same time I reach with my left hand to pull
in his tar leg.
237
7 Using the momentum I have created by moving away and lifting my opponent's leg, I now lift him off the mat as I drive my
weight forward.
8 / finish for the takedown.
238
12.16 Russ Hellickson yanks his opponent's wrist in order to post his opponent's weight, attacks for a single, and
trips the far leg for the finish.
1 ( am creating the conditions for a

single leg by faking an arm drag. This feint
causes my opponent to pull his arm back
and post his weight.
2 / step in for the single leg.
3 Notice my position. My back is straight

and knees are bent to lower my center of
gravity; consequently, I do not lean off
balance while reaching for the leg.
239
4 As / pull my opponent's leg to my

chest, I move in a circular direction away
from him.
5 As / begin to change the direction of

my attack back into my opponent, I lift his
leg to the outside of my body. I must be sure
to use both the power of my rear leg and the
driving force of my motion as / step, bending at the knees while keeping my back
straight.
6 / continue my drive, tripping my opponent's far leg. It is important not to let go of

the leg and continue to pull it as high as
possible to the outside.
240
"v ^ ^ j "
7 / maintain my drive, grabbing my opponent's leg while keeping my arm tight to my chest.
8 / continue tor the takedown.
IONTENT
ig Wrestli
Stan Dziedzic, Author
Contributing Technicians:
Ion Baciu
Don Behm
Gene Davis
Dan Gable
Russ Hellickson
Jim Humphrey
Ben Peterson
Ed Yarovinsky
Strategy
Tactics by Ed Yarovinsky
Stance
Motion
Breaking Opponent's Balance
The Tie-Up and Breaking
of the Tie-Up
Breakdowns from Behind
Low Single Leg
Creating Favorable Conditions
for the Single Leg
Finishes to the Single Leg
Takedown
Single Leg In Its Entirety:
Creating Favorable Conditions,
Attacking and Finishing.

US Wrestling Syllabus

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WRESTLING

A publication of Leisure Press.

1 Mastering Wrestling Technique

6 Breaking Opponent's Balance

7 The Tie-Up and Breaking of the Tie-Up

8 Breakdowns from Behind

9 Low Single Leg

10 Creating Favorable Conditions for the Single Leg

11 Finishes to the Single Leg Takedown

C O N T R I B U T I N G T E C H N I C I A N S MEMBERS OF THE AAU NATIONAL WRESTLING COACHING STAFF

AUTHOR, STAN DZIEDZIC:

NAAU Champion1973, 1974

THE UNITED STATES WRESTLING SYLLABUS

NCAA Champion1969, 1970

NAAU Champion1973, 1975, 1976,

NAAU Champion1977, 1978, 1979

Foreign Guest Contributing Technicians

NCAA Champion 1971, 1972

National Champion of Romania

am grateful to Ion Baciu, Don Behm, Gene Davis,

Finally, thanks go to my wife Arlene and three

he calibre of the participants in the sport of

The purpose of The U.S. Wrestling Syllabus is to

pear faster, more agile, more enduring, stronger,

hen a great champion decides to write a book

tical experiences as both an athlete and coach and

1 MASTERING WRESTLING TECHNIQUE

great deal of practice and study is required

(2) The physical qualities that are important in the

THE UNITED STATES WRESTLING SYLLABUS

After several training sessions, a wrestler should

of time and effort you are willing to expend. It is well

the conditions. The purpose of repeated drilling is to

MASTERING WRESTLING TECHNIQUE

quisition of sports skills. The quality of the model

n order to master strategy, a competitor must be

appropriate solution rapidly, and to react correctly and

and obstacles may arise and require a change in the

wrestler may utilize various set-ups to create

a favorable condition and can be used successfully in all phases of wrestling.

"Binding." By "binding" his opponent's hands,

nique was a bluff, a wrestler imitates the carrying

THE UNITED STATES WRESTLING SYLLABUS

makes the opponent take a stance favorable for

binations requires great strength and flexibility, very

estimated. The most opportune time for creating

presses the will of his opponent by refusing to let

THE UNITED STATES WRESTLING SYLLABUS

from the official. That is why attack becomes

choice of stance and distance. The carrying out of

his plan. It is quite possible a very good and properly

Knowledge of rules and regulations allows the

Gene Daw's and his Mongolian opponent illustrate

he stance is the starting position for initiating

either leg closer to his opponent. In a staggered

Wrestling, 3rd Edition, pg. 59, 1978.

THE UNITED STATES WRESTLING SYLLABUS

Side View: Knees and hips are bent slightly. Head is

Side View: Knees and hips are bent

wrestler should be cautious when changing

when the wrestlers are at arm's length,

"Sasahara, Shozo. Fundamentals of Scientific

Wrestling, 3rd Edition, pg. 59, 1978.