In my ethnographic study, I apply theoretical concepts developed by Erving Goffman in The Presentation of Self in Everyday Life to the behavior of employees in the retail department store, Macy’s. Goffman (1959) argues that social interactions in everyday life can be understood as presentations between performers and audiences. Within social establishments, he suggests four analytical frameworks may govern how performers stage their “characters” including the technical, political, structural and cultural; he also argues that the aforementioned perspectives are situation-specific and thus can also be analyzed within a broader dramaturgical framework (Goffman 1959). The task of this…
Jack London’s “To Build a Fire” is a story about knowing your surroundings, and listening to your instincts, just as the dog in this story did. London’s human character, who is nameless in the story, is more like a foil; with the main character being the harsh landscape of the Yukon, where the story takes place amid -75 below temperatures. The man shows how arrogant and inexperienced he is when he travels to the Yukon Territory without proper clothing, the use of a sled, or companions. He has no camping gear, insufficient food supplies, and his surroundings appear insignificant to him. These vital mistakes not only cost the man anger, but eventually a slow, agonizing death due to stubbornness, and a lack of knowledge in the harsh realities…
We had to create a role play of Mr Sommers interviewing the Governess about her taking the responsible role of being his daughter’s governess. I chose to play the Governess and Dan chose to play Mr Sommers. Firstly, I considered how the Governess would react to being confronted with a man of such ‘high status’. I chose to represent the Governess as being shy and overly considerate of her actions and the way that she came across to Mr Sommers, yet also creating the impression that she was smart and worthy for the job. Throughout the performance I sat straight and upright and maintained eye contact with Dan, who was standing up throughout the performance, he spoke authoritively and loudly and kept his back straight, this represented his high status in comparison with the Governess. We used props such as a table and chairs to portray a more realistic scene.…
Erving Goffman’s ideas focus on the ‘micro’, and the patterns of everyday life. He analyzed the social rules governing the interactions of individuals to develop his theories. Goffman demonstrated that the most casual actions of an individual, such as a glance or bodily gesture, are in effect a performance aimed toward communicating a positive impression for an audience. ‘Often these ways of acting and interacting are unnoticed and only become apparent when they are breached’ (staples et al.,2009, p.?) Goffman focused on the self and self-presentation. He preferred to study individuals, and the minutiae of a person’s face-to-face…
* Goffman’s front stage behavior mean simply pretend to have a role that we do not. Back stage behavior is you around you buddies. My back stage behavior is joking around my friends but I also do it with my family I know my limits and I know which family members to do it around.…
Goffman analyzes society as if it were a stage in which everyone performs on. My…
Stage direction is used to show the actors action and reaction. For example, in the bank manager’s office, through 5 stage directions to show Gladys determined to give her daughter a better life. “Gladys who’s all dressed up” “she pulls out of her bag a special certificate for punctuation” “she stares him down” all her action in response to Bank manager’s concerns about Dolly getting to work. This event shows Gladys hopes Dolly can be accepted by white society. It reflects Gladys desires to belong to Aboriginal society and white society.…
Fo believed that the chief quality of acting was souplesse (flexibility). He is quoted as saying “What distinguishes great actors from average actors is their souplesse. This means that they have a great understanding of the technique of acting, and they understand so deeply, and are involved in, what they are performing, they don’t ‘splash about’...They don’t show that they are exerting themselves. They make you forget they are acting.”1 This is widely acknowledged among those interested in, and involved in, theatre in present day too. Those who develop their character and get themselves far enough into their role to have the ability to walk, talk and improvise without breaking the believability of the performance are actors we consider superior in their profession. This stems from Fo’s belief that flexibility is essential in acting.…
Goffman mainly concentrated on the detailed analysis of encounters and the norms governing these encounters, therefore the evaluation of face-to-face interactions, paying close attention to the small details of these interactions and discovering things that may seem insignificant yet actually are what structure behaviour and behaviour norms. In doing so,…
How does the staging of Australian plays help us gain a better understanding of ourselves and our different cultural and social contexts?…
Explain Erving Goffman’s ideas on the presentation of self. What are the elements of “Presentation?” How, for example, does a college professor engage in a scripted presentation of self to a class? What about a professor’s office? What features of the office are used to convey information to an observer?…
We have moved towards more modernised performances, but this does not necessarily mean ‘the age of the actor has long gone.’ It means audience members now expect more from the performance, rather than just rely on the actor as they did in Elizabethan times. Still in our 21st century, we would not like to go to a play whereby the actors are poor at acting likewise an Elizabethan audience would not like that either. The performance I saw has allowed me to directly compare contemporary theatre to Shakespearian theatre and showed the full limits theatre today can reach.…
The criticism relies on two assumptions. One, that rhetoric creates reality, and two, that convergence occurs. With regards to rhetoric creating reality we are to assume that the symbolic forms that are created from the rhetoric are not imitations but organs of reality. This is because it is through their agency that anything becomes real. We assume to that convergence occurs because symbols not only create reality for individuals but that individual’s meanings can combine to create a shared reality for participants. The shared reality then provides a basis for the community of participants to discuss their common experiences and to achieve a mutual understanding. The consequence of this is that the individuals develop the same attitudes and emotions to the personae of the drama. Within this criticism the audience is seen as the most critical part because the…
The experience of theatre now is comparatively new and modern to the Shakespearean theatre as theatre has changed to reflect its time period. In order to create any theatre it is vital to ‘look back’ in order to see what came before and regain some of what made theatre entertaining. However, it is essential to look forward as we will therefore be keeping a consistency on the time era, as theatre today is far more realistic and a psychologically connected experience in comparison to old Shakespearean theatre.…
There are many characters in Our Town, yet there is one that takes the role of many different people; the Stage Manager. The play does not contain the sort of narrator that a novel might, but the Stage Manager does act as a narrator figure, guiding us through the action. The Stage Manager, essentially the play's narrator, often speaks directly to the audience in an authoritative and informative voice. He is polite but firm in his cues to other characters. However, he also appears quite contemplative at times, especially during his longer monologues. Many characters in the play also have moments of philosophical…