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Dramaturgy is a sociological perspective starting from symbolic interactionism, and commonly used in microsociological accounts of social interaction in everyday life. The term was first adapted into sociology from the theatre by Erving Goffman, who developed most of the related terminology and ideas in his 1959 book, The Presentation of Self in Everyday Life. Kenneth Burke, whom Goffman would later acknowledge as an influence, had earlier presented his notions of dramatism in 1945 which, in turn, derives from Shakespeare. If we imagine ourselves as directors observing what goes on in the theatre of everyday life, we are doing what Goffman called dramaturgical analysis, the study of social interaction in terms of theatrical performance.
In dramaturgical sociology it is argued that human actions are dependent upon time, place, and audience. In other words, to Goffman, the self is a sense of who one is, a dramatic effect emerging from the immediate scene being presented. Goffman forms a theatrical metaphor in defining the method in which one human being presents itself to another based on cultural values, norms, and expectations. Performances can have disruptions (actors are aware of such) but most are successful. The goal of this presentation of self is acceptance from the audience through carefully conducted performance. If the actor succeeds, the audience will view the actor as he or she wants to be viewed.
Dramaturgical perspective is one of several sociological paradigms separated from other sociological theories because it does not examine the cause of human behavior but it analyzes the context. In Frame Analysis, he writes, "What is important is the sense he provides them through his dealing with them of what sort of person he is behind the role he is in" (p. 298). The dramaturgical perspective can be seen as an anchor to this perspective, where the individual's identity is performed through role(s), and consensus between the actor and the audience. Because of this dependence on consensus to define social situations, the perspective argues that there is no concrete meaning to any interaction that could not be redefined. Dramaturgy emphasizes expressiveness as the main component of interactions. It is termed as the "fully two-sided view of human interaction".
Dramaturgical theory suggests that a person's identity is not a stable and independent psychological entity, but rather, it is constantly remade as the person interacts with others.
In a dramaturgical model, social interaction is analyzed in terms of how people live their lives like actors performing on a stage. This analysis offers a look at the concepts of status and role. A status is like a part in a play, and a role serves as a script, supplying dialogue and action for the characters. As on the stage, people in their everyday lives manage settings, clothing, words, and nonverbal actions to give a particular impression to others. Goffman described each individual’s “performance” as the presentation of self, a person’s efforts to create specific impressions in the minds of others. This process is sometimes called "impression management". Goffman makes an important distinction between "front stage" and "back stage" behavior. As the term implies, "front stage" actions are visible to the audience and are part of the performance. People engage in "back stage" behaviors when no audience is present. For example, a server in a restaurant is likely to perform one way in front of customers but might be much more casual in the kitchen. It is likely that he or she does things in the kitchen that might seem unseemly in front of customers.
Before an interaction with another, an individual typically prepares a role, or impression, that he or she wants to make on the other. These roles are subject to what is in theater termed "breaking character." Inopportune intrusions may occur, in which a backstage performance is interrupted by someone who is not meant to see it. In addition, there are examples of how the audience for any personal performance plays a part in determining the course it takes: how typically we ignore many performance flaws out of tact, such as if someone trips or spits as they speak.
Goffman first brought dramaturgy into the language of social psychology and sociology with his publication The Presentation of Self in Everyday Life. The book explores a multitude of interactions whereby we in everyday life engage in performances of the self in a way similar to an actor portraying a character.
There are seven important elements Goffman identifies with respect to the performance:
Within this analysis, teams are groups of individuals who cooperate with each other in order to share the 'party line'. Team members must share information as mistakes reflect on everyone. Team members also have inside knowledge and are not fooled by one another's performances.
Stages or regions refer to the three distinct areas where different individuals with different roles and information can be found. There are three stages: front, back and outside.
The front stage is where the actor formally performs and adheres to conventions that have meaning to the audience. It is a part of the dramaturgical performance that is consistent and contains generalized ways to explain the situation or role the actor is playing to the audience that observes it. The actor knows he or she is being watched and acts accordingly. This is a fixed presentation. Goffman says that the front stage involves a differentiation between setting and personal front. These two concepts are necessary for the actor to have a successful performance. Setting is the scene that must be present in order for the actor to perform; if it is gone, the actor cannot perform.
Personal front consists of items or equipment needed in order to perform. These items are usually identifiable by the audience as a constant representation of the performance and actor. The personal front is divided into two different aspects, appearance and manners. Appearance refers to the items of the personal front that are a reflection of the actor's social status. Manner refers to the way an actor conducts himself. The actor's manner tells the audience what to expect from his performance.
Back stage is where performers are present but audience is not, and the performers can step out of character without fear of disrupting the performance. It is where facts suppressed in the front stage or various kinds of informal actions may appear. The back stage is completely separate from the front stage. No members of the audience can appear in the back. The actor takes many methods to ensure this.
When performers are in the back region, they are nonetheless in another performance: that of a loyal team member. Back region is a relative term, it exists only in regards to a specific audience: where two or more people are present, there will almost never be a true 'back region'.
Outside, or off-stage, is the place where individuals are not involved in the performance (although they may not be aware of it). The off-stage is where individual actors meet the audience members independently of the team performance on the front stage. Specific performances may be given when the audience is segmented as such.
Borders or boundaries are important as they prevent or restrict movement of individuals between various regions. Performers need to be able to maneuver boundaries to manage who has the access to the performance, when and how. The border phenomena is highlighted by Victor Turner's liminality-concept, and thus prolonged in the imaginable field: semiotics of ritual. The management of thresholds may be operated on several axes; the most crude is exclusion-inclusion, similar to the basic digital on-off (1 - 0); to be a part or not may be seen as the fundamental asset in a society; but as far society is perceived as a rhizomatic conglomerate; rather such than a unitary, or arborescent whole; border-control, so to say, becomes in a paradoxical fashion the central issue. Thus the study of liminality in sociology, ritual and theatre reveals the fictional elements underpinning society. Rites of passage seem to reflect this as the enactments of exclusion, and dissociation seem to be an essential feature of such. The enactment of exclusion from a society seem to be essential for the formation of an imaginary central governing (cf. Michel Foucault).
Many performances need to prevent the audience from getting some information (secrets). For that, several specialized roles are created.
There are different types of secrets which have to be concealed for various reasons:
There are three basic roles in Goffman's scheme, each centered on who has access to what information. Performers are most knowledgeable. Audiences know only what the performers disclosed and what they have observed themselves. Outsiders have little if any relevant information.
The roles can be divided into three groups and include:
Roles dealing with manipulation information and team borders:
Roles dealing with facilitating interactions between two other teams:
Roles that mix front and back region up:
Performers may act out of character on purpose (usually in the back stage) or by accident (if in front stage).
Common backstage communications out of character include:
Common frontstage communications out of character include:
Impression management refers to work on maintaining the desired impression. It is composed of defensive and protective techniques. Defensive techniques are employed before an interaction starts and involve:
Protective techniques are used once the interaction begins in order to cover mistakes. For example, relying on audience to use tact and overlook mistakes of the performers .
It has been argued that dramaturgy should only be applied in instances that involve people associated with a total institution. The theory was designed for total institutions and some believe that theories should not be applied where they have not been tested.
In addition to this, it also has been said that dramaturgy does not contribute to sociology's goal of understanding the legitimacy of society. It is claimed to be drafting on positivism, which does not offer an interest in both reason and rationality; John Welsh called it a "commodity".
For one, dramaturgy has been used to depict how social movements communicate power. Robert D. Benford and Scott A. Hunt argued that "social movements can be described as dramas in which protagonists and antagonists compete to affect audiences' interpretations of power relations in a variety of domains". The people seeking power present their front stage self in order to captivate attention. However, the back stage self is still present, though undetectable. This is a competition of power, a prime example of dramaturgy.
A useful, and everyday way of understanding dramaturgy (specifically front stage and back stage) is to think of a waiter or waitress at a restaurant. Their main avenue of concern for him or her is "customer service". Even if a customer is rude, waiters and/or waitresses are expected to be polite ("the customer is always right") as part of their job responsibilities. That same waiter or waitress speaks differently when going out to her/his break room. s/he may complain, mimic and discuss with their fellow peers how irritating and rude the customer is. In this example, the waiter/waitress acts a certain way when dealing with customers and acts a completely different way when with her/his fellow employees.
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