Abstract This paper examines Erving Goffman's dramaturgical perspective on social interaction. The theory is briefly outlined and then illustrated with examples from day-to-day life.
Abstract This paper examines Hamlet, the main character in William Shakespeare's play, "Hamlet." The paper explores the thesis that revenge is anti-ethical to Hamlet's character. It looks at the ways in which Hamlet ? both the play and its eponymous prince ? are both psychologically more complex and yet also, in some important dramaturgical ways, less satisfying than are other Shakespearean plays that are centered on revenge such as "Romeo and Juliet," and "King Lear."
From the Paper "But the world of Denmark as seen in Hamlet's court is so corrupted that it cannot be cleansed even by the degree of death that takes place in the play. The fact that this is so should be an indication that the corruption goes to the very heart of not only the state but of Hamlet, who serves as a sort of mythical kingly figure in this context. It is not so much that something is rotten in the state of Denmark, but that something is weakened beyond the possibility of being fixed. Given the cultural standards for manliness common in both the medieval world in which the play is set as well as the Renaissance world in which Shakespeare was writing ? as well as, of course, our own ? it is not surprising that Hamlet should interpret weakness as corruption. Princes, by the standards of his time, should be warriors rather than philosophers."
Abstract The author states that "A Doll's House" is a strong feminist statement although Ibsen himself always claimed to be resolutely apolitical. The paper describes Nora as a character trapped by the circumstance of her past who refuses to remain trapped. The author of this paper sees the play as an argument that both women and men deserve to be free. The author concludes that the political overtones of the play contributed to its longevity.
From the Paper "His behavior towards her when he discovers what she has done ? and it is important to remember that she has acted only out of concern for his welfare and has shown both courage and initiative in doing so ? is patronizing and unkind. She acts entirely out of love for him, but his response to her actions makes her realize that he has never actually seen her as a real human being on her own but rather as a pretty doll."
Tags: feminist, social, change, infantile, political, doll, norwegian, dramaturgical, rights
Abstract This paper begins with an explanation of what constitutes social norms in America and the results one may expect if one does not act 'normally'. It then goes on to describe an experiment which reflected behaviour which was not of the norm, where a group of mixed-race, mixed-gender young adults played with Lego on the floor of a mall. The paper shows the reaction of the onlookers and then examines the experiment from a subjective viewpoint. Finally, the paper provides a theoretical perspective of the experiment, using the theories of Erving Goffman as an explanation for the groups' experiences.
From the Paper "The strength of this negative reaction will be commensurate with how important the norm is that is broken and the presence or absence of sub-cultural norms. Wearing an anti-war button is relatively acceptable on a college campus, absolutely acceptable in a Quaker meetinghouse, and might result in harm to oneself at an NRA meeting. Norms exist for society as a whole, but in a society as large and as diverse as the United States, different groups will subscribe to different norms to a greater or lesser degree. Members of certain groups may even refuse entirely to acknowledge the importance of some norms at all (vegetarians refuse to acknowledge the American norm that dictates that meat is food) while still maintaining membership in the group. Because so many norms exist to govern the beliefs and behaviors of the members of a society, an individual may violate some of them at any given time without losing his or her standing in or identity with that group."
Abstract This paper explains that the Roman Catholic Church abolished the practice of tonsure to consecrate monks in 1972; however, the ritual tonsuring remains as part of the liturgy of the Russian Orthodox Church, "The True Catholic Church" (splinter group originating in Holland) and Buddhism. The author points out that, although modern anthropologists have correlated ritual and performance, the end result of ritual is usually substantially different than the end result of modern secular theatrical performance. The paper concludes that, although the ritual of tonsure may have some minor theatrical aspects including its use of antiphons (a form of liturgical theatre in the 9th century), this ritual is not a theatrical performance but rather a semi-private ritual between postulant monks and their bishop with a few personal observers. Long quotations.
Table of Contents
Description of the Ritual of Tonsuring in the Roman Catholic Church
Dramaturges Definition of Theatrical Performance
Ritual of Tonsuring as Liturgical Theatrical Performance
Theatrical Critique and the Ritual of Tonsure
Ritual and Theatrical Performance
Conclusion
From the Paper "The primary reason is how do we critique an ancient ritual? When we critique modern productions, we evaluate many things, the production itself, the actors and their portrayal of the characters in the play and the settings.. Only, if one were to have attended several rituals of tonsure in order to look at their individual production value. How good was the choir, how smooth was the ritual performed, how involved were the individual supplicants? Then, we might begin to apply such methods of critique. The fact is these rituals are rare and private, usually attended only by the supplicants, the bishop, the choir and the supplicant's families."
Abstract This paper briefly explores the significance of dreams in William Shakespeare's plays, "Richard III", "Macbeth", and "A Midsummer Night's Dream". It examines and explains how dreams serve chiefly to add depth and complexity to the main characters, reflect the belief systems of the audience Shakespeare was trying to enthrall and underscore the subjective nature of human "reality." The paper suggests that Shakespeare successfully uses dream sequences for commercial and dramaturgical purposes.
From the Paper "By emphasizing the angst and suffering of the killers and conspirators, dreams also bolster the moral lesson that appears to lie at the heart of the drama. Just as in Richard III, those who ignore dreams in Macbeth do so at their own peril. For example, in Act II, Scene 1 of the play, Banquo announces to Macbeth that he has dreamt of the strange apparitions he and his untrustworthy friend encountered only a short while earlier. But although Banquo admits that the three strange sisters "have showed some truth" (Garber 113) as it pertains to Macbeth's elevated station, he fails to appreciate that the dream might also offer some insight into his own future. Banquo allows Macbeth to simply and disingenuously dismiss the prior encounter with the witches as meaningless even though their cryptic message is now impelling Macbeth to view his long-time friend as a rival who needs to be terminated (Garber, 114). As with Clarence and Hastings in Richard III, Banquo's inability to recognize the portents coming to him in dream prepares him for his tragic end."
Abstract This paper draws upon Erving Goffman's dramaturgical approach to discuss how several groups, including athletes, college instructors, parents, physicians and politicians, engage in "impression management." The paper explains that social interactions invariably entail a sort of "performance" in which we act in accordance with the pressures exerted upon us by environment. The paper illustrates how we put on a facade in order to achieve our personal objectives.
From the Paper "According to Goffman (1959), impression management is fundamentally about "expressive responsibility;" that is to say, it is about self-consciously crafting an exterior appearance that will not offend the sensibilities of the audience. In other words, social interaction is an act of dramaturgy in which we "perform" in accordance with the pressures exerted upon us by environment, the nature of our environment and with the goal of manufacturing "performances" that are "consonant" with our own desired goals (Barnhart, n.d.). To sum it all up, we put on a facade because we believe that doing so will enable us to gain the favor of those around us whose good will we need in order to achieve our personal objectives (like a well-dressed person speaking in proper English and with an upright posture at a job interview)."
Abstract This paper looks at the life of eighteenth-century German dramatist and actor, Caroline Neuber. It describes the obstacles she and other women faced in German theater at the time, the dramatic reforms of the theater scene she championed and the inventive way in which she used dramaturgical conventions like the prologue to advance her agenda. The paper also discusses Neuber's commitment to re-shaping German comedy so that it would acquire the gravitas she felt it deserved. Finally, the paper examines Neuber's pivotal relationship with Johann Christoph Gottsched.
From the Paper "Still, for all the troubles which attended her life-long foray into the German theatre, Neuber should be remembered for her many accomplishments. Not least of all, she was one of the very few theater troupe owners who happened to be female; Neuber was also a committed perfectionist who dedicated herself to raising the standards of the German theater. Not to be overlooked, it was Caroline Neuber, arguably more so than anyone else in German theater at the time, who transformed the improvised, traditional Haupt- und Staatsaktion performances into a genuine national theater which promoted rehearsed and memorized performances of the 'courtly' Alexandrinerdrama variety so much in vogue in France at that time (Eigler & Kord, 75 and 229)."
