DRAMATURGICAL ANALYSIS
The dramaturgical interpretation will provide an analysis of the text of Kivisto and Pittman which considers four case studies which have borrowed from Goffman’s dramaturgical sociology and an outline of his theory of social interaction in everyday Life. Erving Goffman (1922- 1982) was without a question a major American theorists in the second half of the 20th century and the most incisive sociological spectator in the dynamics of everyday life. In the year (1959), Goffman wrote a book “The presentation of self in Everyday life” which provides a detailed description on how an individual presents himself/herself or his/her activity in an ordinary work situation to others. His concepts of everyday life was viewed from …show more content…
He portrays the division between group execution and audience in terms of “region” (front and back stage) describing the role of setting in the differentiation of action taken. He distinguished areas where performance is given to either be on or off and termed it as the “front stage.” The front stage is described as the a part where performance takes place, using various impression management tools to articulate a particular image to the audience in order to be valued. It’s also a more generalized place where an actor role is been introduced. Goffman however states that there are different elements which constitute the front stage beginning with the “setting”. The setting is described to have different physical object which communicate the identity an actor wishes to perform. Therefore the scene must be present in order to create a performance without which the actor cannot …show more content…
He also argues that the tools we use on stage are an important element when manipulating the public perception of what’s being presented. Likewise, in our everyday life, we form our behaviour and the way we look in order to determine and be in control of the way other people perceive us. For Goffman (1959) he claimed that when an actor is engaged in a role, he or she must be ready to believe that the role is real and also make a decision on whether they have a feeling that the impression of reality they are about to experience is “true”, even if it cannot be judged by
The dramaturgical interpretation will provide an analysis of the text of Kivisto and Pittman which considers four case studies which have borrowed from Goffman’s dramaturgical sociology and an outline of his theory of social interaction in everyday Life. Erving Goffman (1922- 1982) was without a question a major American theorists in the second half of the 20th century and the most incisive sociological spectator in the dynamics of everyday life. In the year (1959), Goffman wrote a book “The presentation of self in Everyday life” which provides a detailed description on how an individual presents himself/herself or his/her activity in an ordinary work situation to others. His concepts of everyday life was viewed from …show more content…
He portrays the division between group execution and audience in terms of “region” (front and back stage) describing the role of setting in the differentiation of action taken. He distinguished areas where performance is given to either be on or off and termed it as the “front stage.” The front stage is described as the a part where performance takes place, using various impression management tools to articulate a particular image to the audience in order to be valued. It’s also a more generalized place where an actor role is been introduced. Goffman however states that there are different elements which constitute the front stage beginning with the “setting”. The setting is described to have different physical object which communicate the identity an actor wishes to perform. Therefore the scene must be present in order to create a performance without which the actor cannot …show more content…
He also argues that the tools we use on stage are an important element when manipulating the public perception of what’s being presented. Likewise, in our everyday life, we form our behaviour and the way we look in order to determine and be in control of the way other people perceive us. For Goffman (1959) he claimed that when an actor is engaged in a role, he or she must be ready to believe that the role is real and also make a decision on whether they have a feeling that the impression of reality they are about to experience is “true”, even if it cannot be judged by