Application of the performance theory on comedy television series represents a vast area for analysis not only due to their enduring popularity and numerous annual releases, but also because of the particular function the products of this genre are assumed to perform, namely, the creation of humurous effect on the audience. In this type of TV fiction the success or felicity of the performance is assessed by the performer’s ability to make the message funny and most importantly the ability of the audience to “get the joke”. The mechanism by which a viewer is made to laugh can be observed in the 4-minute fragment of the “Key and Peele” TV series, in which the two main male characters are trying to communicate fearing to be overheard by their …show more content…
The participants’ performance can be understood in the context of Irvin Goffman’s theory of impression management, where not only the way the participants make impressions on each other matters, but also their ability to convince the audience in the insencirity of their “acting out of character” becomes essential for the creation of humurous effect. After analyzing this performance in terms of Goffman’s acting in and out of character paradigm, this paper will apply other performance theorists’ models to demonstrate the role of the audience in making the sketch humorous. According to Goffman’s theory described in the book The Presentation of Self in Everyday Life, a social reality is a conjuction and interrelation of numerous performances, which in essence are all directed at managing other participants’ impressions of selves. Goffman claims that a person’s …show more content…
The two roles they are performing may be described as “cool and manly” when they are alone and “good husbands” when their wives are around. Through swicthing between the two masks the characters are trying to make corresponding impressions, with is either looking cool in the eyes of a friend through demonstrating sexist behaviour towards their wives or making an impression of loving husbands in the eyes of the wives. The two masks may be considered as performing two different roles, but taking into account the official status of one of the roles, namely, the “good husbands” and the performers’ anxiety in conveying the “information incompatible with the impression officially maintained during interaction” (1959, 108); the other role can be perceived as “acting out of character”. Not only the performers fear of leakage of the inconsistent information, which they communicate out of character, but also the change of the “decorations” make the division between the “inside” and “out of character” interaction visible. Interaction with the wives who in Goffman’s terms can be called the audience takes place mainly in the offical part of the house – the hallway
Through the actions of the male hegemony and the mother figure, both plays show the different perspectives both sexes have towards homosexuality. The patriarchal figures, show an intolerant and abusive perspective whereas the mother figures show a more understanding way of coping with the identities of their sons. By seeing the reactions of both males and females, it is to say that the maternal figures of the play show a more comprehensive attitude towards the struggles that the male protagonist undergo. Both plays are related to today´s society, because there are still families in which homosexuality is not accepted. People are still
Some of Goffman’s other works include ‘The Presentation of Self in Everyday Life’, ‘Asylums’, and ‘Stigma’ which are a series of books about social behaviour. They are often referred to as modern classics. The essay on face-work can be considered as an expansion of Goffman’s previous works on interaction and included in this series.
Though its primary function is usually plot driven--as a source of humor and a means to effect changes in characters through disguise and deception—cross dressing is also a sociological motif involving gendered play. My earlier essay on the use of the motif in Shakespeare's plays pointed out that cross dressing has been discussed as a symptom of "a radical discontinuity in the meaning of the family" (Belsey 178), as cul-tural anxiety over the destabilization of the social hierarchy (Baker, Howard, Garber), as the means for a woman to be assertive without arousing hostility (Claiborne Park), and as homoerotic arousal (Jardine). This variety of interpretations suggests the multivoiced character of the motif, but before approaching the subject of this essay, three clarifica- tions are necessary at the outset.
Genders have always played a major role in society and the household throughout history. These conventions are the rules that society functions from and more importantly the ideals crucial to ones overall social status. Husbands are to support the family with financial success, which involves freedom from debt and moral guilt; meanwhile, wives have a submissive role and are to be economically and socially dependent on their husbands. Some form of gender stereotype has been a foundation to social structures throughout time. Henrik Ibsen challenges the ideals of the bourgeoisie lifestyle and gives the reader a different perspective through the play A Doll’s House. Ibsen breaks down the stereotypical role through the main female character, Nora Helmer, who fulfills a doll like stereotype very well but as the story evolves, the play shows it is only a performance in order to save her husband’s pride.
Popular culture is the artistic and creative expression in entertainment and style that appeals to society as whole. It includes music, film, sports, painting, sculpture, and even photography. It can be diffused in many ways, but one of the most powerful and effective ways to address society is through film and television. Broadcasting, radio and television are the primary means by which information and entertainment are delivered to the public in virtually every nation around the world, and they have become a crucial instrument of modern social and political organization. Most of today’s television programming genres are derived from earlier media such as stage, cinema and radio. In the area of comedy, sitcoms have proven the most durable and popular of American broadcasting genres. The sitcom’s success depends on the audience’s familiarity with the habitual characters and the situations
Initially he views his wife as a mere possession, a toy doll. which he is able to show off at party’s to the admiration of fellow. members of powerful society, ‘curtsy here, curtsy there – and the vision of loveliness was gone as they say in fairy tales.’ However.
Adopted into sociology by Erving Goffman, he developed most terms and the idea behind dramaturgical analysis in his 1959 book The Presentation of Self in Everyday Life. This book lays out the process of human social interaction, sometimes called "impression management". Goffman makes the distinction between "front stage" and "back stage" behavior. “Front stage" actions are visible to the audience and are part of the performance. We change our hair color, eye color, complextion. Wearing make-up, the way our hair is styled, the clothes we wear. The demeanor we present to the world to the. All of these things lead to an outward appearance of what we want others to think we are. People engage in "back stage" behaviors when no audience is present. We whine and moan about the customers we deal with. Hair goes un-styled, make is wiped off. Clothing is comfortable and unrestricting. When a person conducts themselves in certain way not consistent with social expectations, it is often done secretly if this ...
In his work, Goffman explains that ‘the self’ is the result of the dramatic interaction between the actor and the audience he or she performs to. There are many aspects of how an individual performs his or her ‘self’. One of the aspects of performing the self that Goffman labels as the ‘front.’ The front involves managing the individual’s impression.
In a subtle way, Brush also makes the wife’s actions selfish. Even though her husband was wrong to react in the way that he did, she was also selfish in her actions. Clearly, her husband has a shy personality because “he was hotly embarrassed” (13) in front of “such few people as there were in the restaurant” (11). Using a couple of this age (“late thirties” (1)), Brush asserts that the wife should have known her husband’s preferences and been sensitive to them. The author also uses the seemingly opposite descriptions the couple: “There was nothing conspicuous about them” (5) and the “big hat” (4) of the woman. The big hat reveals the wife’s desire to be noticed.
On the topic of gender, he believes that we are constantly trying to give the best impression of our gender, and we form our gender on a daily basis. Goffman calls this “impression management.” He also believes that our identity is formed through our day-to-day interactions, so if someone was to question my gender (which has happened in the past), then I would, in turn, question my gender. Though I believe that at least some part of what Goffman is saying is true, authors Don Zimmerman and Candace West argue against his theory. In their collaborative work “Doing Gender,” the authors present the idea that others’ opinions of an individual’s gender, and which gender they see that individual as has nothing to do with one’s display of
In this play, the men and women characters are separated even from their first entrance onto the stage. To the intuitive reader (or playgoer), the gender differences are immediately apparent when the men walk confidently into the room and over to the heater while the women timidly creep only through the door and stand huddled together. This separation between genders becomes more apparent when the characters proceed in investigating the murder. The men focus on means while the women focus on motive: action vs. emotion. While the men...
Goffman, E. 1959. The presentation of self in everyday life. Garden City, NY: Double Day
Erving Goffman uses a dramaturgical perspective in his discussion of impression management. Goffman’s analysis of the social world primarily centres around studies of the self and relationship to one’s identity created within a society. Through dramaturgy, Goffman uses the metaphor of performance theatre to convey the nature of human social interaction, drawing from the renowned quote “All the world’s a stage and all the men and women merely players” from Shakespeare’s ‘As You Like It.’ Much of our exploration of Goffman’s theories lies within the premise that individuals engage in impression management, and achieve a successful or unsuccessful performance. Impression management refers to the ways in which individuals attempt to control the impression that others have of them stemming from a basic human desire to be viewed by others in a favourable light. Goffman argues that our impressions are managed through a dramaturgical process whereby social life is played out like actors performing on a stage and our actions are dictated by the roles that we are playing in particular situations. In a social situation, the stage is where the encounter takes place, the actors are the people involved in the interaction, and the script is the set of social norms in which the actors must abide by. Just as plays have a front stage and back stage, this also applies in day-to-day interactions. Goffman’s theory of the front and back stage builds on Mead’s argument of the phases of the self. The front stage consists of all the public and social encounters with other people. It is similar to the ‘me’ which Mead talks about, as it involves public encounters as well as how others perceive you. Meanwhile the back stage, like the ‘I’, is the time spent with oneself reflecting on the interactions. Therefore, according to Goffman’s dramaturgical
The nature of comedy has always left it somewhat resistant to critical analysis, and to some extent the same can be said for comedic actors. The class-clowns of Hollywood like Will Ferrell are often times constructed as being nothing more than amusing, so they seem like a simple case study.... ... middle of paper ... ...
Television comedies have been on the air for decades, and throughout this time many different shows have come and gone. Due to the dominance of these shows, comedies are one of the biggest draws on television. There are many different types of comedies, each with their own unique characteristics and features that differentiate them from others and lead to their popularity. Whether the show is a sketch comedy, sitcom, mockumentary or dramatic comedy, each utilizes different types of humour, locations, themes, and situations to appeal to the audience; which is likely why they are so popular today.