their shows overseas remains basically the same as it does in the United States . Zeb Colter gives the same speeches overseas about how immigrants are illegally crossing borders and threatening the moral fabric of society . Audiences overseas , just like in the United States , are enticed to chant , “ We , the People !” along with The Real Americans — and this is where the point becomes clear , because those crowds are not American , and yet the wrestling stage allows them to perform and join into the mass culture . During a show in Belfast in November 2013 , for example , Zeb Colter told the crowd how happy he was to step off the plane and hear everyone speaking English , a statement which is met with rousing applause . He then tells the crowd that he would like to “ give everybody in this building a chance to become [ my italics ] an honorary ‘ Real American ’” by joining him and his tag team in a “ We , The People ” salute , to which the crowd complies ( Stan ). The audiences ’ performance is not fixed to their political affiliations or social status ; they are capable of performing outside of their individual identity , just as much as the wrestlers themselves are capable . Whereas most scholarly criticism of professional wrestling focuses on the symbolic interpretations behind the in-ring ( wrestlers , managers , announcers , etc ) performers , this essay also inspects closely the cultural implications behind the performance of the audience . Mazer points out that “[ b ] ad guys or good , as wrestlers violate the order represented in and by the ring , they temporarily liberate the spectators from the constrictions of everyday social proprieties ” ( 116 ). The “ constrictions ” of everyday social proprieties , in this case , is the conventional disapproval of speaking so openly bigoted against immigrants . Liberation from these constrictions allows both for the truly bigoted audience members to perform this bigotry in a safe environment ,
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