Dramaturgy

Dramaturgy refers to a specific approach to the understanding of social interaction put forward by Erving Goffman. This approach, rooted within the traditions [Page 233]of symbolic interactionism, focuses on actors' performance of everyday social activities. A dramaturgical approach to understanding social interaction embraces the Shakespearian notion that “all the world's a stage, and all the men and women merely players.” From this standpoint, people can be seen to actively manage their social performances to construct impressions and evoke desired responses in their audience.

Continuing the theatrical analogy, performances are given on the frontstage, whereas rehearsals, costume choice, and scripts are managed backstage away from the audience's view. As such, rather than presenting the unproblematic view of social interaction put forward by traditional symbolic interactionists, dramaturgists propose that social interactions can be calculated, manipulative, and open to audience skepticism. When an unconvincing performance is given (e.g., by not looking the part, by using inappropriate language), an actor's frontstage character is betrayed and embarrassment or exposure as a fraud ensues. Thus, the actor's desired audience response is also in jeopardy.

An example of an unconvincing performance may be a clean-shaven man in a business suit begging for money on the street. His costume, script, and performance do not make sense to the audience; therefore, he may be unsuccessful in eliciting the desired audience response. However, dramaturgists would argue that social behaviors that appear to be unconvincing from one social position may be entirely convincing when viewed from an alternate position. The businessman may be begging for money because his wallet was stolen and he needs change to make a phone call. When the audience has access to the social context in which to view the performance, the subtext of the performance can be better understood. As such, it is often the actor's job, as part of his or her performance, to make this social context explicit, for example, by the businessman stating to each passerby, “I've been robbed—can you give me change for a phone call?” Of critical importance are the social norms that underpin the context in which the actor's performance occurs. It is most relevant to examine why the businessman must note that he has been robbed and to document the social norms governing why this tactic will enhance the success of his performance.

Although Goffman's dramaturgical approach provides a useful approach with which to understand social interaction, it falls short of providing an explicit method for documenting and appraising social performance. Dramaturgical analysis relies on actual social interaction, and observation, interviews, and naturally occurring talk are the most useful kinds. Dramaturgy can be applied to a wide variety of social interactions—from micro-level encounters, to group interaction, to roles within institutions. Each level of interaction remains underpinned by social norms and conventions that outline which types of performances will be successful within a particular social context.