Presentation of Self

Society and Social Interaction SOCI 1306 Presentation of Self Naturally, it is difficult to peer into someone's mind and determine the role they are playing. We are only able to witness behaviour, or role-playing. The way a person displays their role is known as role performance. The concept put out by sociologist Erving Goffman compares a person to a performer on a stage. Goffman, who named his theory dramaturgy, held that we employ "impression management" to show ourselves to other people in the way that we would like to be seen. Every circumstance is a fresh scenario, and people act out distinct parts based on who is there (Goffman 1959). Consider your interactions with coworkers, your grandparents, and a blind date. There are differences in behaviour in each situation. You definitely show various parts of yourself to your date, workplace, and grandparents even if you're not actively attempting to change who you are. Just as in a play, the location is important. You are hosting a dinner party if you have a bunch of pals around for supper. It is understood that in addition to providing food and seats, you will likely be responsible for much of the cleanup at the end of the evening. In the same way, your friends are your visitors, and as such, they must respect your home and whatever guidelines you may have established (e.g., "Don't leave the door open or the cat will get out"). The participants in any scenario must have a common reality. In this instance, issues are likely to arise if you see yourself as a visitor while others see you as the host. One essential element of symbolic interactionism is impression control. For instance, a judge's robe and gavel are only two of the several 'props' used in a courtroom to convey an aura of authority, justice, and severity. It is expected of anyone entering the courtroom to follow the scenario that has been created. Just consider the "impression" that a person's attire might leave. For this reason, during court hearings, lawyers usually choose the attire and haircut of defendants and witnesses. Goffman builds on Charles Cooley's theories of looking-glass self and dramaturgy. Cooley (1802) asserts that our perception of others shapes who we are. We guess what others must think of us, and we respond to this conjecture. We put on specific outfits, style our hair in a specific way, apply cosmetics, apply fragrance, and so on—all with the idea that how we present ourselves will influence how other people see us. We anticipate a particular response, and if we're lucky, we receive it and are pleased with it. More than that, Cooley thought that the foundation of our concept of self is this notion: we form our own sense of self by imagining how we appear to others and making assumptions about others based on their responses to us. Stated differently, the way we are viewed by others might be compared to a mirror reflecting back to us. Goffman's theory of dramaturgy should be expanded upon by delving into the idea of frontstage and back-stage behaviour. We exhibit a polished, controlled version of ourselves in social encounters, which is known as front-stage behaviour. On the other hand, backstage behaviour is what we do when we think the public is no longer watching; it's when we take off the mask and behave more authentically, frequently getting ready for upcoming front-stage appearances. with the staff room, for example, a teacher may confide with coworkers about their genuine emotions and difficulties, even when they are performing assiduously in front of the class and presenting a professional image. The contrast between behaviour on the front and rear stages highlights the intricacy of interpersonal relationships and the ongoing work required for image management. Additionally, the idea of impression management is connected to more general societal standards and expectations. People are socialised from an early age to grasp what kinds of actions and looks are suitable in different social contexts. Learning the unspoken social norms entails this socialisation process; Goffman referred to these norms as "scripts" for various "scenes" in life. For instance, conduct expected at a family BBQ is very different from that at a formal dinner party. These scripts offer a framework for appropriate behaviour, which makes it easier for people to navigate social situations. They may be constrictive, too, as going against these scripts may result in social rejection or punishment. Furthermore, impression management aims to uphold social order in addition to how people desire to be seen. Every encounter involves an implicit agreement between participants to maintain particular social standards in order to maintain consistency and predictability. It can cause unease and bewilderment when someone deviates from these expectations, underscoring the need of mutual understanding in interpersonal relationships. The social script would be upset, for example, if someone began acting strangely during a formal gathering, leaving others uneasy and unsure of how to react. Power and status concerns are intertwined with impression management. Because of the discretion that comes with their status, people in positions of power frequently have greater latitude when it comes to how they present themselves. On the other hand, those who lack authority might feel under pressure to follow societal standards more closely in order to prevent being seen negatively. At a business function, for instance, a CEO may talk casually and wear casual clothing, which could be interpreted as a sign of approachability and confidence. On the other hand, a lower-level employee could believe that in order to create a good impression and keep their job, they must speak clearly and dress properly. The emergence of social media in modern culture has given impression management a new meaning. People have the ability to carefully construct their public identities thanks to online platforms. Social media profiles are akin to prolonged stage shows where people share stuff that presents their life in a particular way. But it also raises the issue of keeping a consistent brand across various consumers and channels. The difficulties of impression management in the digital era are brought to light by the need to project an idealised picture of oneself online, which can cause tension and worry. Furthermore, the idea of identity is intimately linked to impression control. Identity is a dynamic and fluid quality of the self that is constantly created and reconstructed by social interactions rather than a fixed attribute. According to Goffman's dramaturgical perspective, our identities are dynamic and continually change depending on the audience and the social environment in which they are performed. This viewpoint highlights the plurality of the self as people navigate several identities according on the circumstances. An individual may, for instance, have distinct social identities among friends, a family identity at home, and a professional identity at work. Furthermore, the alignment of a presenter's style with the expectations of the audience determines how successful impression management is. A keen understanding of the audience and the capacity to predict their responses are necessary for effective impression management. This talent is comparable to an actor's capacity to sense the mood of the crowd and modify their performance appropriately. Social friction can arise when expectations and presentation are not in line with each other. For example, wearing excessively casual clothing to a formal gathering might be interpreted as impolite or unsuitable. To sum up, Erving Goffman's dramaturgy theory offers a deep understanding of the intricacies of social interactions and the ongoing work required for image control. By drawing a comparison between social interactions and a theatrical production, Goffman draws attention to the deliberate and frequently unconscious ways people display themselves to others. This viewpoint is intricately linked to ideas of power relations, social standards, and identity. We continuously modify our performances as we go through various social circumstances, aiming to leave a positive impression while upholding social coherence. This process is made more difficult by social media's continuous growth, which presents new opportunities for identity creation and impression control. Gaining an understanding of these dynamics is essential to understanding the complex nature of human social behaviour.