Abstract The study of sociology requires that it study the macro and micro aspects of it-that is, human society must be studied based on the social structures existing in the environment and social interaction happening among individuals and groups. To illustrate how sociology works in everyday human life, this paper brings into lucidity how the processes of dramaturgy and social construction of reality is operationalized in a formal workplace environment. For this paper, dramaturgy represents the social interaction among individuals and groups while the social construction of reality puts into context these human interactions into a larger framework, which includes social structures and institutions established in the society.
From the Paper "Dramaturgy or dramaturgical analysis, developed and introduced by Erving Goffman, is a sociological theory that posits that "social life is like a drama or stage play" (97). By this, Goffman means that individuals follow particular roles and adapt specific "scripts" through which they represent their own selves. Furthermore, this theory states that people maintain a "front stage" and "back stage," concepts that are synonymous with the idea of the public and private selves, respectively. The front stage or the public self is the personality or image that we want to project in public, which often is parallel with the role that the individual assumes in his/her society. The back stage, meanwhile, is the private self that is undisclosed to everyone except for the individual's family and close friends. The back stage self is often shown in the individual's moment of candor."
Abstract This paper examines two plays by William Shakespeare, "Titus Andronicus" and "Henry IV", and details how each is indebted to medieval dramaturgy. To begin with the paper starts by reviewing the pyramidal construction of Shakespeare's "Titus Andronicus" and how this organization of the plot owes much to earlier medieval plays. Among other things the paper suggests that the play arrangement and sequence serves not only to heighten audience interest in the stage play but also serves to stoke the desire of theater goers to vicariously participate in the final denouement through a desire to see the wrong doers punished.
From the Paper "The following paper examines two plays by William Shakespeare - Titus Andronicus and Henry IV - and details how each is indebted to medieval dramaturgy. To begin with, the paper starts by reviewing the "pyramidal construction" of Shakespeare's Titus Andronicus and how this organization of the plot owes much to earlier medieval plays. Among other things, the paper will suggest that the play's arrangement and sequence serves not only to heighten audience interest in the stage play but also serves to stoke the desire of theater-goers to vicariously participate in the final denouement (through a desire to see the wrong-doers punished). Beyond that, the play's pyramidal organization allows Shakespeare to also express in more subtle fashion his own classical sensibilities. Proceeding onward, the second part of the paper will be devoted to exploring Henry IV and how the "stock..."
Abstract This paper examines the history of drama and its steady and sometimes spectacular evolution over time. The paper reviews the contributions of the ancient Greeks to western dramaturgy and then proceeds to look at the innovations of the early moderns. The paper then examines the modern age and considers the peculiar development of what can best be described as non-realistic or some might say nihilistic drama.
From the Paper "The following paper will explore the history and evolution of drama over time while noting the constancy of tragedy, comedy and farce despite the steady parade of changes which have transformed western dramaturgy in fundamental ways. It will begin first by examining the development of "western" drama in the age of the Greeks and it will proceed from there to discuss the innovations of the early modern period (as especially typified by Shakespeare). Not content to end simply with Shakespeare, the paper will look at the modern age and the arrival of non-realistic (some might argue nihilistic) drama and its most fundamental features."
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 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 examines the plays "Othello" by William Shakespeare and "A Doll's House" by Henrik Ibsen. In particular, the paper outlines the themes of appearance vs. reality and social issues such as oppression and the individual struggling against society that are hidden within the story lines of the plays. It looks at how while the theme of appearance versus reality occurs in isolated events and character relationships in "Othello", it exists differently in "A Doll's House" as an ongoing mask of reality for many situations and characters. The paper also discusses how Ibsen's and Shakespeare's unique portrayals of this theme stem from their distinct dramaturgies, as well as their cultural and social environments.
From the Paper "The artificial exterior of characters and their relationships with one another is a major form of appearance versus reality in both Othello and A Doll's House. Shakespeare sets the tone for Iago's trap in the first scene of Act II, as a random dialogue discusses the limitations and unreliability of sight. "What from the cape can you discern at sea?" Montano asks the Gentleman. "Nothing at all," he replied, "it is a high-wrought flood. I cannot twixt the heaven and the main Descry a sail." Othello will be similarly "blinded," as Iago works to mislead him. Othello's major flaw is his trust in Iago's appearance as a friend, when in reality Iago is planning his demise. Othello expresses his faith in Iago in Act III Scene Three, when he responds to Iago's protest that he loves him by saying "I think thou dost; And, for I know thou'rt full of love and honesty, And weigh'st thy words before thou giv'st them breath" Othello relies on Iago's "evidence" blindly, missing the reality that he is his enemy. "
Abstract This paper discusses how the French playwright Jean Genet wrote from a space of cultural, social and sexual marginality. In particular, it looks at how, in his essay 'The Strange Word Urb' he expresses his radical views within the richly suggestive images of the Nazi holocaust to express his sharp castigation of Fascist war-crimes and to redefine the role of theatre in the post-war world order.
From the Paper "At the outset of the essay, Genet feigns a highly serious and impersonal tone as he goes on to talk about the etymology of the word "urbanism" and with a seemingly objective stance he discusses the architectural plan of the city to arrive at the shocking conclusion that the theatre should be built "as close as possible" in the very guardian shadow of the place where dead are buried or the solitary monument which digests them are located. His very thesis which claims "dead" as an "important theatrical mainstay" in itself is problematic and even paradoxical. To elaborate, death signifies temporality of human existence, whereas theatre is a repository of ideas which are often undying and beyond temporal and spatial frames. Moreover, tragedy which is usually regarded as "mimesis of praxis" or (imitation of an action of a serious kind)is a powerful medium to represent life this appears anti-thetical to the ideas of death, absence of action and life which cemetery encapsulates. "
