Goffman's dramaturgical approach views social interactions as theatrical performances. It analyzes how people present themselves, manage impressions, and navigate different social roles in everyday life.

This perspective revolutionized sociology by applying theatrical metaphors to social behavior. It explores concepts like front stage vs. back stage, impression management, and face-work, offering insights into the complexities of human interaction.

Origins of dramaturgical approach

• Dramaturgical approach emerged as a sociological perspective analyzing social interactions through the lens of theatrical performance
• Goffman's work bridged sociology and performance studies by applying theatrical metaphors to everyday life
• This approach revolutionized how scholars understand the presentation of self in social contexts

Goffman's sociological background

• Erving Goffman developed the dramaturgical approach in the mid-20th century
• Studied at University of Chicago, influenced by the Chicago School of sociology
• Focused on micro-level interactions and symbolic meaning in social life
• Published seminal work "The Presentation of Self in Everyday Life" in 1956

Influences from symbolic interactionism

• Drew heavily from George Herbert Mead's concept of the social self
• Incorporated ideas from Herbert Blumer's symbolic interactionism
• Emphasized the importance of symbols and meaning in social interactions
• Expanded on the notion that individuals actively create and negotiate social reality

Key concepts of dramaturgy

• Dramaturgical approach views social life as a series of performances on various stages
• Individuals are seen as actors managing impressions and playing roles
• This perspective illuminates the strategic nature of social interactions and self-presentation

Social interactions as performances

• Conceptualizes everyday interactions as theatrical performances
• Individuals (actors) present themselves to others (audience) in specific ways
• Performances aim to convey particular impressions and achieve desired outcomes
• Involves careful management of verbal and non-verbal cues (gestures, facial expressions)

Front stage vs back stage

• Front stage refers to public areas where performances take place
  • Includes formal settings (workplace, classroom)
  • Actors adhere to social norms and expectations
• Back stage encompasses private areas for preparation and relaxation
  • Includes informal settings (home, backstage areas)
  • Allows for dropping of public persona and rehearsal of performances
• Transition between front and back stages requires careful management

Impression management techniques

• Strategic behaviors used to control others' perceptions
• Includes verbal strategies (self-promotion, ingratiation)
• Incorporates non-verbal cues (appearance, body language)
• Involves information control (revealing or concealing certain details)
• Requires constant monitoring and adjustment of one's performance

Elements of performance

• Dramaturgical approach identifies key components that shape social performances
• These elements work together to create convincing and effective presentations of self
• Understanding these elements helps analyze the complexity of social interactions

Setting and props

• Physical environment where the performance takes place
• Includes furniture, decor, and spatial arrangements
• Props serve as tools to enhance the performance (business cards, uniforms)
• Setting influences the tone and expectations of the interaction
• Actors manipulate the setting to support their desired impression

Appearance and manner

• Appearance refers to an individual's physical characteristics and attire
  • Includes clothing choices, grooming, and accessories
  • Communicates social status, role, and intentions
• Manner encompasses behavior, demeanor, and attitude
  • Includes tone of voice, gestures, and facial expressions
  • Conveys the actor's emotional state and approach to the interaction
• Consistency between appearance and manner crucial for credible performances

Teams and teamwork

• Individuals often perform as part of a team to present a unified front
• Team members collaborate to maintain a shared definition of the situation
• Requires coordination and trust among team members
• Involves strategies for handling disruptions or mistakes in the performance
• Examples include work colleagues presenting to clients, families at social events

Dramaturgical roles

• Dramaturgical approach identifies various roles individuals play in social interactions
• These roles shape the dynamics of performances and influence their outcomes
• Understanding these roles helps analyze power dynamics and social expectations

Performers and audience

• Performers actively present a particular image or impression
  • Engage in conscious and unconscious behaviors to manage impressions
  • Adapt their performance based on audience reactions
• Audience observes and interprets the performance
  • May be active participants or passive observers
  • Influences the performance through their reactions and expectations
• Roles can shift during interactions, with individuals moving between performer and audience

Non-person roles

• Individuals present but not actively participating in the performance
• Includes service staff (waiters, janitors) often treated as if invisible
• May witness performances not intended for them
• Their presence can influence the behavior of performers and audience
• Examples include bystanders, children in adult conversations

Discrepant roles

• Roles that have access to information or areas not typically available to others
• Includes informers, go-betweens, and mediators
• May possess knowledge that could disrupt the performance if revealed
• Often navigate complex loyalties and maintain multiple facades
• Examples include spies, double agents, or employees privy to confidential information

Face and face-work

• Concept of "face" central to Goffman's dramaturgical approach
• Refers to the positive social value individuals claim for themselves
• Face-work involves actions taken to maintain one's own face and others' faces
• Crucial for maintaining social order and smooth interactions

Maintaining social face

• Involves presenting a consistent and socially acceptable image
• Requires constant vigilance and adjustment in social situations
• Includes strategies like self-deprecation, modesty, or confidence
• Balances between asserting one's own face and respecting others' faces
• Failure to maintain face can lead to embarrassment or social sanctions

Strategies for saving face

• Employed when face is threatened or lost in social interactions
• Includes avoidance (changing the subject, physical withdrawal)
• Utilizes corrective processes (apologies, explanations, humor)
• May involve offering or accepting accounts for behavior
• Requires cooperation from others to successfully save face
• Examples include laughing off a mistake or offering an excuse for a faux pas

Critique and limitations

• While influential, the dramaturgical approach has faced criticism and identified limitations
• These critiques highlight areas for further development and integration with other theories
• Understanding these limitations helps in applying the approach more effectively

Oversimplification of social life

• Critics argue the approach reduces complex social interactions to performances
• May overemphasize conscious, strategic behavior at the expense of spontaneity
• Potentially neglects deeper emotional and psychological aspects of interactions
• Doesn't fully account for power structures and systemic inequalities
• Risk of viewing all social behavior as manipulative or insincere

Cultural and contextual variations

• Dramaturgical approach primarily developed in Western, individualistic contexts
• May not fully capture social dynamics in collectivist or non-Western cultures
• Variations in the importance of "face" and impression management across cultures
• Doesn't adequately address how social media and digital interactions alter performances
• Need for adaptation to account for diverse cultural norms and practices

Applications of dramaturgical approach

• Dramaturgical perspective offers valuable insights into various social contexts
• Provides a framework for analyzing and understanding human behavior
• Has been applied across multiple disciplines and real-world settings

Everyday social interactions

• Illuminates the strategic nature of casual conversations and encounters
• Helps explain behavior in public spaces (restaurants, parks, public transport)
• Offers insights into dating and romantic relationships
• Analyzes family dynamics and intergenerational interactions
• Examines how people navigate different social circles and identities

Institutional and organizational settings

• Applied to understand workplace dynamics and professional interactions
• Analyzes how individuals present themselves in job interviews and negotiations
• Examines the role of uniforms and dress codes in shaping organizational culture
• Explores how leaders manage their public image and internal team dynamics
• Investigates the performance aspects of customer service and sales interactions

Legacy and influence

• Dramaturgical approach has left a lasting impact on social sciences and beyond
• Continues to influence contemporary research and theory development
• Has contributed to interdisciplinary understanding of human behavior

Impact on sociology

• Shifted focus to micro-level interactions and everyday life
• Influenced development of ethnomethodology and conversation analysis
• Contributed to the growth of qualitative research methods in sociology
• Inspired studies on identity formation and management in various contexts
• Influenced theories of social constructionism and postmodern sociology

Contributions to performance studies

• Bridged gap between sociology and theater studies
• Expanded understanding of performance beyond traditional artistic contexts
• Influenced development of performance ethnography as a research method
• Contributed to theories of performativity in gender and identity studies
• Inspired analysis of social rituals and ceremonies as performances