Dramaturgy (sociology)

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For the theatre-related meaning of this word, see dramaturgy.

Dramaturgy is a sociological perspective stemming from symbolic interactionism. The term was first coined by Erving Goffman as he, among many other sociologists, attempted to define the self. 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 that is a dramatic effect emerging from the immediate scene being presented.^[1] 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 manipulation. If the actor succeeds, the audience will view the actor as they want to be viewed.^[2] This makes it an intimate form of communication, highlighting it as a micro-level sociological theory.

Contents 1 Front Stage 2 Back Stage 3 Dramaturgical Perspective 4 Critique 5 Dramaturgy Applied 6 See also 7 External links 8 Further reading 9 References

[edit] Front Stage

Front stage is 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. 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. For example, using the metaphor of ice skating, in order for an ice skater to perform, an ice rink must be present.

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. Sticking with the metaphor of ice skating, an example of a personal front would be the ice skates the skater must wear in order to perform. 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.^[1]

[edit] Back Stage

Back stage 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. It is difficult to perform once a member of the audience is in the back stage. Using the metaphor of an ice skating competition, the skater would not want the judges to see her at practice where she is sloppy and falls. Her practice time would be seen as the backstage and the performance time as the front.^[1]

[edit] Dramaturgical Perspective

Dramaturgical perspective is separated from many other sociological theories because it does not examine the cause for behavior but the context. In this sense, dramaturgy is a process which is determined by consensus between individuals. 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 a "fully two-sided view of human interaction".

Dramaturgical theory suggests that a person's identity is not a stable and independent psychological entity, but is constantly remade as the person interacts with others.

In a dramaturgical model, social interaction is analyzed as if it were part of a theatrical performance. People are actors who must convey who they are and what they intend to others through performances. As on the stage, people in their everyday lives manage settings, clothing, words, and nonverbal actions to give a particular impression to others. This is called "impression management". Goffman made 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 waiter 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 does things in the kitchen that he would never do 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. Those roles are subject to what is in theater termed "breaking character." Inopportune intrusions may occur, in which a backstage performance is interrupted by someone 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.

The sociologist Erving 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.

[edit] Critique

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.^[3]

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".^[4]

[edit] Dramaturgy Applied

Research on this is best done through fieldwork such as participant observation.

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".^[5] 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 their break room. They 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 their fellow employees.

[edit] See also

• Impression management
• Social stigma
• symbolic interactionism
• Dramaturgical action
• The Presentation of Self in Everyday Life

[edit] External links

• Role Distance
• Mystification

[edit] Further reading

• Life as Theater: A Dramaturgical Source Book.

Second Edition. Brissett, Dennis and Edgeley, Charles ed. New York: Walter de Gruyter 1990.

• The Presentation of the Self In Everyday Life.

Erving Goffman. New York: Doubleday 1959.

[edit] References

1. ^ ^{a b c} Ritzer, G. (2007) Contemporary Sociological Theory and Its Classical Roots: The Basics. New York, New York. McGraw-Hill.
2. ^ Adler, P., Adler, P. (1987) Everyday Life Sociology. Ann Rev Sociol, 13, 217-35.
3. ^ (2001) Contemporary Sociological Theory New York, New York. Peter Lang Publishing Inc.
4. ^ Welsh, J. (1990) Dramaturgical Analysis and Societal Critique Piscataway, New Jersey. Transaction Publishers.
5. ^ Benford, S., Hunt, S. (1992) Dramaturgy and Social Movements: The Social Construction and Communication of Power. Sociological Inquiry Vol. 2. No. 1.