As the name suggests, the central principle of this form of analysis is the concept of the drama. Life is a stage upon which performers play. The public performances they make (where public is what is done in the presence of other people or that affects other people—in other words, most acts are public) are what produce meaning. Thus meaning is produced in action. While dramaturgical analysis is generally used to explicate very public performances such as organizational rituals, it can also be used to understand relatively private performances such as the execution of parental roles. The analysis includes not only the act itself but also and, more important, the meaning produced by the act or the messages that are conveyed by the act. Dramaturgical analyses may focus on the display or they may focus on what makes up the display Dramaturgical analysis describes social behavior from the standpoint of the language of the theater: individuals are defined as actors and social interactions viewed as dramatic productions. It is pershaps the most comprehensive theory available today for the analysis of collective behaviors. Although individual perspectives of dramaturgical analysis are available, no single current text providing a summary and examples of generally accepted views exist. Dramaturgical Analysis of Social Interaction fulfills this role, providing an outstanding review of this approach--making it crucial reading to researchers of collective behavior and This paper seeks to illuminate how social movements collectively construct and communicate power. Drawing on insights from dramaturgy as well as from field research of several movements, the article demonstrates how social movements are dramas routinely concerned with challenging or sustaining interpretations of power relations. Four dramatic techniques associated with such communicative processes are identified and elaborated: scripting, staging, performing and interpreting. It is suggested that movement outcomes hinge in part upon how well activists employ these techniques and manage various emergent contingencies and tensions. The paper concludes with a discussion of several sets of theoretical and empirical implications
students Dramaturgical analysis of social interaction is based on the assumption that social acts are staged, consciously or unconsciously, and thus embody all the elements found in enactments in the theater. Plays on the theater stage highlight all the elements of ordinary social life to present to an audience a new perspective on some aspect of social interaction. Thus, concepts used in theater production can be turned back again for the analysis of the social behavior that they are designed to reflect. 1. The Main Concepts
The main concepts that can be used in dramaturgical analysis center on the stage or action area (Hare and Blumberg 1988). The action area can be divided into two parts; backstage and stage. The backstage area is where the actors prepare for their roles and where special effects are produced to influence the audience. The stage is where the action takes place in full view of the audience. Even if only two people are involved in the interaction, they take turns providing an audience for each other. When one is speaking the other is listening. As an audience, an actor provides consensual reality, cueing, social reinforcement, and continual observation (Sarbin in Allen and Scheibe 1982). For any action area there may be offstage areas in which persons who have organized the activity (producers), as well as those who have rehearsed the cast (directors) and are providing cues for action remain hidden from the audience. In addition, there may be a person or group who provided the original idea or script for the performance (playwright). This does not complete the list as there may also be persons who cater for the audience. The meaning of the event binds all the participants together. The overall meaning...
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