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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 ?
The best essays in the book demonstrate how different approaches - archival research, musical and dramaturgical analysis, sociological study of musical patronage - can shed light on both music and the society that produces it.
Arguably Brecht was foremost a poet who achieved his most compelling voice while he took pleasure in exploring poetry's formal demands, as the dramaturgical poems demonstrate.
Bringing about intentional changes in customary ways of thinking, being, and behaving is the primary aim of dramaturgical teaching experiences (O'Neil & Lambert, 1987).
These theater pieces were staged by Lebanon's dramaturgical elite -- the Baalbek Festival School of Modern Acting well as such playwright-directors such as Nidal al-Ashkar, Roger Assaf and Berge Vaslian.
This, in itself, is quite a feat--and one that makes her study valuable to a number of audiences: those interested in dramaturgical questions arising from plays that seem at once "period pieces" and distinctly modern; those interested in fin de siecle drama and its complex cultural contexts; and those interested, first and foremost, in Wilde: his life, his work, his numerous and dizzying incarnations in late twentieth- and early twenty-first-century culture.
Barbara Reul and Lorraine Byrne Bodley [Burlington, VT: Ashgate, 2008], 99-117), who have analyzed the dramaturgical and compositional aspects of fierrabras in order to demonstrate Schubert's growing mastery of the operatic form.
Museology exhibition includes both the dramaturgical development in close cooperation with the Museum as well as the development of the design, staging and implementation concepts for the entire exhibition architecture and a unified guidance system for both locations and the expansion.
The concept started out inauspiciously when he tuned his stereo to an announcer firm the local MDR Radio, but soon revealed a meticulous mix of fantasy, humor and modern myth that drew the audience into a work whose dramaturgical weaknesses are as glaring as its lack of musical identity.
She begins by summarizing the various forms of masques (Jonsonian court masques, masques performed at the Inns of Court, and country-house masques), and then proceeds to lay out the various dramatic and dramaturgical functions of masques-within (dramatic triggers, emblematic illustrations of themes or concepts, structural dramaturgical elements, and allegorical satiric mirrors), before turning to the masques within Massinger's plays.
Examples include early exchange theories of Homans and Blau, symbolic interactionist theories of identity, Herbert Spencer's contribution to evolutionary sociology, dramaturgical theories, actor-network theories, critical theories of the Frankfurt School and more.
Each chapter centers on this thesis as it engages either with a play by the Queen's Men or with a Shakespeare play that owes a thematic, dramaturgical, or historiographical debt to a Queen's Men's forebear.
We begin with a course in Paris on dramaturgical research for the movement arts and combine it with costume design.