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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 ?
One of the dramaturgically most intriguing projects of the Year of Czech Music 2014, it came into being during the Dvorak Prague festival, in a co-production of Arco Diva and Czech Radio.
Effectively, with great regularity, wealth's status as a grand narrative was socially, politically, and dramaturgically obscured.
In spite of the carnival atmosphere in the play, very little in A Midsummer Night's Dream is dramaturgically unrestrained, and the success of the play onstage depends on the commitment of an ensemble cast working within their prescribed roles.
Sawdust and Stardust is also one of the first recipients of a bursary for emerging artists administered by Live Theatre and a theatre development organisation called The Empty Space "The New Writing department at Live said they would be interested in producing it and taking us forward dramaturgically.
Dramaturgically, they forma no-man's-land between the community proper and the larger world beyond; they are areas from which characters may proceed in almost any direction and the range of possible experiences is broad.
The Children's Hour was less useful to me than Tea and Sympathy, because it did not work that well dramaturgically.
The seemingly sound concord of discord is apparent in the dramaturgically arranged sequential strategy in the spatial "trigonometric" structure of the play built upon a silence-sound, silence-sound-silence, sound-silence pattern.
Sherlow offers a close reading of "Norman Chaurette's Les Reines: Shakespeare and the Modern in the Alchemical Oven," finding in this dramaturgically and thematically challenging play further evidence to support Richard Halpern's claims for the enduring legacy of modernism.
However I found it dramaturgically clumsy, and as a whole, the ballet had less power than Alfred Rodrigues's 1953 work on the same subject.
Unfortunately, all of the star power behind these highly publicized productions cannot hide the fact that Speak Truth to Power is dramaturgically inert and does little to further the cause to which it aspires.
are dramaturgically, not ideologically, inspired" (75) and emphasizing "a shift of emphasis to the aesthetic.