The theory of social Dramaturgy comes from the great American sociologist Erving Goffman. His research on social performance spanned from the 1950's until the time of his death in 1982. His theories continue to inspire and broaden perspectives today. He sought to understand the motivations behind micro-interactions, and unlock answers to the human psyche.
Note, the term dramaturgy should not be mistaken for the role of Dramaturgist in a theatrical work. A Dramaturgist in a theater handles the literary component in the production of plays. Although — they do share an origin in meaning. Dramaturgy involves the dissection of thematic, and symbolic material in both disciplines — resulting in comprehensive reassembly. In a sociological context, the term "dramaturgy" refers to Goffman's Theory of presentation in human behavior. Basically, Goffman relates our lives to a piece of live theater. In a theater and in life, the actor—or the self, must respond and act accordingly to satisfy needs and validate identity. To understand dramaturgy, you need to understand the goals of sociology.
Sociology and psychology are intrinsically linked. Each scientific discipline works to understand how the identity develops. Psychology focuses on the processes on the mind and it's relationship to identity while sociology focuses on the identities relationship with other people. We act and interact with people based on sets of social rules— or norms. These are called social and cultural constructions—and they are either validated or discarded as time and tides change. Sociocultural constructions are ideas agreed upon by enough people in order to cement them into reality. For example, I could claim: over the years it has become more of the norm for women to have long hair, and men to have a shorter haircut. This idea developed over time, and as more people accepted this notion, even more people were influenced to digest it.
We could say almost everything — people, places, ideas, and things are all influenced by a mutual agreement on the symbolic meaning. Valentine's Day means chocolates and flowers. The sun means get up. You see a swastika and based on an understanding of the social context behind that image (tyranny, murder, war), an emotional response emerges — and the potential for action (acting) arises. Imagine, If a baby saw a swastika, they'd fail to recognize it as a construction with real social consequences.
There are sets of social expectations that make up what we know as status — or roles.
In his work, Goffman suggests every day we engage in thousands of conscious and unconscious decisions. These decisions can be broken down into choices of dramatic action, tension, and harmony. He imagines the individual as the actor, and those watching as the audience. This whom you interact with are your fellow actors who with your help, help to define situations. For example, by screaming I might be signaling to my "fellow actor" that I need help. He calls these choices performance — as their design communicates a story in which one or more people engage in.
Goffman proposes in most social interaction there are two underlying goals:
1. Portray the desired self/have it affirmed.
2. Make the interaction harmonious.
When any of these things fail to happen in the way either person perceived the situation: awkwardness, embarrassment, and anger ensue. Basically, we experience feelings based on judgment — and the lack of control over those judgments. These reactions are undesirable and they encourage social order by punishing those unable to fulfill their roles. Essentially, we act and are acted upon.
Roles are played, discarded, and reinvented all the time.
As an actor myself, I find this idea fantastic. I find new truths and perspectives more rapidly than I ever have before by just putting in the time to understand. In my acting classes, we learn something strikingly similar in a different context. We try to understand a character's micro motivations and relationships so we may be able to act upon those impulses. This is not unlike the social theory of dramaturgy — in fact, it mirrors it. Performance art isn't simply the recreation and revitalization of life and stories of people interacting.
Goffman uses the metaphor of a dramatic production in great detail to explain his grand theory.
1. The Actor.
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The actor is somewhere between the conscious and subconscious. The actor is you — an honest, true you. An actor makes choices and accepts or declines roles offered to him. A role can be anything from a role as a woman to a role as a gym teacher to a role as a Christian.
2. The Face (costume, props, and makeup).
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Whether a person puts on a suit or a pair of jeans — they are putting on a costume. What we wear, and when we wear it says something about ourselves. Costumes reaffirm that we are in the right place and time — the right scene and line. You wouldn't wear a bikini while playing Annie just as much as you wouldn't wear one during a job interview. Clothes are costumes.
Props are things like phones, notebooks, or guns. Props are things we use for a purpose. Things that have a shared meaning.
Makeup refers to our outward appearance. What difference does it make to have bad breath versus good smelling breath? Why is it that wearing makeup can earn you more tips? Strategic choices can create the character—or face you're trying to achieve.
The front is the whole picture of what people see when they look at you.
3. Audience.
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The audience is pretty simple. An audience can be your friends on Facebook, the professor in your class, your extended family, or a group of your peers you want to impress.
Any person you interact with hasn't a different constructed reality — more or less similar to yours. Some overlap more than others.
4. Encounters (Scenes).
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Hoffman believed anything from a murder to a handshake could be looked at in scenes-complete with a lights up (sunrise) and a blackout (sunset).
Specific social exchanges and patterns that mean certain things. Many behaviors go into how we perceive people. Tone, body language, appearance, location — all these things affect how we act. An actor must acknowledge all of these things before attempting a character.
5. Set.
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A bar might suggest a friendly, laid-back environment where screaming, dancing, and drinking is encouraged (Standard Tavern setting). However, at a board meeting, these behaviors would get you fired. The location determines what is appropriate for the situation.
6. Scripts.
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A script is what we think we’re supposed to say. We often go off script but we always find our way back. It’s a habit and a ritual.
There are certain things we can't help but say — almost like rituals; “how are you? I'm doing good. Good." Or things we know we should say or shouldn't say. When we break the script — and say or so something very abnormal, you risk social consequences. Something very abnormal supported by enough people can become normal — and be added to the script.
7. Frontstage.
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Public.
The front stage is the person we let other people see — which varies from place to place and from time to time. Front stage places could be a park or a gym — where there are eyes around.
8. Backstage.
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Private.
The backstage is what happens behind the scenes — like farting. Behaviors you perform while alone or with someone you trust. Backstage places can include bathrooms, bedrooms, and in your own car.
9. Ensemble.
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Your ensemble is the people you work with to create each other's realities. In theater, an ensemble is the people you work with to create a central reality... built from individual realities which were made from interpersonal action. Bear with me, I know it sounds pretentious.
Your co-workers, your family, your dance team — anyone who you interact with passes through your stage.
10. Frame/broken frame.
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The frame is the structure that holds human interaction together — the frame seeks for some kind of end that results in a harmonious exchange.
The frame is the edges of the stage, and when someone steps off the stage we fear they're going to fall.
Breaking the frame is breaking expectations and creating new boundaries. This is how we grow as people. This is also how we start wars.
Thank you to Western Washington University Professor of Sociology Jennifer Lois for teaching me the roots of this fascinating theory.
man running in forestPhoto by 
