He gives the example of a new recruit to the army who first of all acts out the disciplined training routine and hates it but must go along with it in order to avoid punishment, but after time comes to feel that a disciplined life has real meaning for him personally. Goffman goes on to say that people can oscillate between these two extremes as they move through different stages of their lives. When the audience is also convinced in this way about the show he put one – and this seems to be the typical case – then for the moment at least, only the sociologist or the socially disgruntled will have any doubts about the ‘realness’ of what is presented.Īt the other extreme, we find that the performer may not be taken in at all by his own routine… the performer may be moved to guide the conviction of the audience only a means to other ends, having no ultimate concern in the conception they have of him or of the situation.“ “At one extreme, one finds that the performer can be fully taken in by his own act and he can be sincerely convinced that the impression of reality which he stages is the real reality. Sincere individuals really believe their act is an expression of their own identity, and truly want others to believe this too (the ‘typical’ case), while cynical individuals do not invest ‘themselves’ in their roles, they are acting with a means to another end, which can either be for self-gain (like a conman) or for the benefit of the people around them (a teacher who acts strict but is not necessarily like this in real life). Goffman distinguishes between two approaches to acting out social roles: sincerity and cynicism. MORAL NOTE: THE ROLE OF EXPRESSION IS CONVEYING IMPRESSIONS OF SELFĪn ‘extended summary’ of Erving Goffman’s ‘Presentation of Self in Daily Life’ including his concepts of front and backstage, performers and audiences, impression management, idealisation, dramatic realisation, manipulation, discrepant roles and tact.Audience members engage in protective practices.Performers engage in defensive attributes and practices.Chapter six: the arts of impression management.Chapter five: communication out of character.
Chapter three: regions and region behaviour.
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