Donald Bradman - Style

Style

Main article: Donald Bradman's batting technique

Bradman's early development was shaped by the high bounce of the ball on matting-over-concrete pitches. He favoured "horizontal-bat" shots (such as the hook, pull and cut) to deal with the bounce and devised a unique grip on the bat handle that would accommodate these strokes without compromising his ability to defend. Employing a side-on stance at the wicket, Bradman kept perfectly still as the bowler ran in. His backswing had a "crooked" look that troubled his early critics, but he resisted entreaties to change. His backswing kept his hands in close to the body, leaving him perfectly balanced and able to change his stroke mid-swing, if need be. Another telling factor was the decisiveness of Bradman's footwork. He "used the crease" by either coming metres down the wicket to drive, or playing so far back that his feet ended up level with the stumps when playing the cut, hook or pull.

Bradman's game evolved with experience. He temporarily adapted his technique during the Bodyline series, deliberately moving around the crease in an attempt to score from the short-pitched deliveries. At his peak, in the mid-1930s, he had the ability to switch between a defensive and attacking approach as the occasion demanded. After the Second World War, he adjusted to bat within the limitations set by his age, becoming a steady "accumulator" of runs. However, Bradman never truly mastered batting on sticky wickets. Wisden commented, "f there really is a blemish on his amazing record it is ... the absence of a significant innings on one of those 'sticky dogs' of old".

Read more about this topic:  Donald Bradman

Famous quotes containing the word style:

    “To write well, to have style ... is to paint. The master faculty of style is therefore the visual memory. If a writer does not see what he describes—countrysides and figures, movements and gestures—how could he have a style, that is originality?”
    —Rémy De Gourmont (1858–1915)

    “I might say that what amateurs call a style is usually only the unavoidable awkwardnesses in first trying to make something that has not heretofore been made.”
    —Ernest Hemingway (1899–1961)

    “The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
    —Helen Hayes (1900–1993)