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an approach to social analysis, especially associated with Erving GOFFMAN, in which the theatre is the basis of an analogy with everyday life. In this analogy, social action is viewed as a ‘performance’ in which actors both play parts and stage-manage their actions, seeking to control the impressions they convey to others (impression management). The aim of actors is to present themselves in a generally favourable light and in ways appropriate to particular roles and social ‘settings – the latter is Goffman's term for the physical trappings which signal particular roles or status. In a related way, SOCIAL ACTORS also cooperate as members of teams’, seeking to preserve a ‘front’ while hiding from view the ‘backstage’ of social relations. Since actors will play different roles in different situations, they also on occasion find it necessary to practise audience segregation, withholding in a current situation any sign of those other roles they play which, if visible, would threaten the impression being given at the moment (e.g. the problems that would arise for a homosexual judge from any disclosure of his homosexuality). The model of interaction involved in dramaturgy turns on the inevitability of acting partly on inference. For Goffman, the social order is a precarious accomplishment, always liable to be disrupted by embarrassment and breaches of front.



The dramatic works of a writer, people, or period.

(2) The plot and characters of a play or film. Literary drama, transformed in the modern theater into a director’s script, forms the basis of theatrical dramaturgy. In cinematography, dramaturgy takes the form of screen-plays.

References in periodicals archive ?
Cette idee se pose en continuite avec une representation theatrale ou la dramaturgic est principalement vehiculee par l'acteur.
The acting and staging were excellent, and the playwright began to work his dramaturgic legerdemain from the narrator's opening incantation:
It was a big work to find a balance and the right kind of dramaturgic flow between these strong elements.
wrong to us--a cop-out, for dramaturgic effect, on a character we cared
Tejumola Olaniyan, (10) borrowing from the theatrical grammar of Antonio Gramsci, explores the aesthetic provenance of Femi Osofisan's empowering theatrical forum, which is characterized by deft appropriation of indigenous performance forms, a fine-turned materialist revision of history and a consummate dramaturgic sophistication.
303, 331 34 (1991) (distinguishing epistemic from dramaturgic uses of evidence); see also Risinger, supra note 3, at 431-46 (discussing the adversary fight to use irrelevant information for purposes of drama, and its limits).
generates, from out of its dramaturgic potential, a strain of awkward
By dramaturgic functions we understand for example the representation of moods and the enhancement or strengthening (mimicking) the expressions of the film characters.
The temporal and spatial content of the Fore narratives reflect the dramaturgic form of epidemics, which is used as the framework for this discussion.
Earlier, the extensive portrayal of blatant Catholic hypocrisy (a total of five scenes from part two) had also fallen victim to the dramaturgic scissors--a necessary concession to running time, admittedly, but a further neutering of the pointed Marlovian interrogation of organized religions and their truth claims.
Ackroyd's own fiction is filled with the conventions of popular theatre, his prose, in the attentiveness to external, outward detail, its flamboyance, certainly in its pathos displays a dramaturgic type of imagination.
While dramaturgic elements that echo O'Casey's craft merit attention, Toibin's presentation of two aging widows, Lady Gregory and Mrs.