Goffman on the Presentation of the Self

In his landmark work, sociologist Erving Goffman discussion human behavior and the way in which we appear to others in social situations. Like an actor on a stage, each person presents a character to his audience that allows him or her to control the impressions of others.

When an individual enters the presence of others, they commonly seek to acquire information about him or to bring into play information about him already possessed. They will be interested in his general socio-economic status, his conception of self, his attitude toward them, his competence, his trustworthiness, etc. Although some of this information seems to be sought almost as an end in itself, there are usually quite practical reasons for acquiring it. Information about the individual helps to define the situation, enabling others to know in advance what he will expect of them and what they may expect of him. Informed in these ways, the other will know how to best act in order to call forth a desired response from him.

For the present, many sources of information become accessible and many carriers (or “sign-vehicles”) become available for conveying this information. If unacquainted with the individual, observers can glean clues from his conduct and appearance which allow them to apply their previous experience with individuals roughly similar to the one before them or, more important, to apply untested stereotypes to him. …  [T]he “true” or “real” attitudes, beliefs, and emotions of the individual can be ascertained only indirectly, through his avowals or through what appears to be involuntary expressive behavior.

The expressiveness of the individual (and therefore his capacity to give impressions) appears to involve two radically different kinds of sign activity: the expression that he gives, and the expression that he gives off. The first involves verbal symbols or their substitutes which he uses admittedly and solely to convey the information that he and the others are known to attach to these symbols. This is communication in the traditional and narrow sense. The second involves a wide range of action that others can treat as symptomatic of the actor, the expectation being that the action was performed for reasons other than the information conveyed in this way.

Taking communication in both its narrow and broad sense, one finds that when the individual is in the immediate presence of others, his activity will have a promissory character. The others are likely to find that they must accept the individual on faith, offering him a just return while he is present before them in exchange for something whose true value will not be established until after he has left their presence. …

Knowing that the individual is likely to present himself in a light that is favorable to him, the others may divide what they witness into two parts; a part that is relatively easy for the individual to manipulate at will, being chiefly his verbal assertions, and a part in regard to which he seems to have little concern or control, being chiefly derived from the expressions he gives off. The others may then use what are considered to be the ungovernable aspects of his expressive behavior as a check upon the validity of what is conveyed by the governable aspects. …[O]ne can expect that sometimes the individual will try to exploit…the impression he makes through behavior felt to be reliably informing … . This kind of control upon the part of the individual reinstates the symmetry of the communication process, and sets the stage for a kind of information game—a potentially infinite cycle of concealment, discovery, false revelation, and rediscovery. …

[W]hen an individual appears before others he will have many motives for trying to control the impression they receive of the situation. This report is concern with some of the common techniques that persons employ to sustain such impressions and with some of the common contingencies associated with the employment of these techniques. … I [am] … concerned only with the participant’s dramaturgical problems of presenting this activity before others. The issues dealt with by stage-craft and stage management are sometimes trivial but they are quite general; they seem to occur everywhere in social life, providing a clear-cut dimension for formal sociological analysis. …

[Interaction] (that is, face-to-face interaction) may be roughly defined as the reciprocal influence of individuals upon one another’s actions when in one another’s immediate physical presence. An interaction may be defined as all the interaction which occurs throughout any one occasion when a given set of individuals are in one another’s continuous presence; they term “an encounter” would do as well. A “performance” may be defined as all the activity of a given participant on a given occasion which serves to influence in any way any of the other participants. Taking a particular participant and his performance as a basic point of reference, we may refer to those who contribute the other performances as the audience, observers, or co-participants. The pre-established pattern of action is unfolded during a performance and which may be presented or played through on other occasions may be call a “part” or “routine.”  These situational terms can easily be related to conventional structural ones. When an individual or performer plays the same part to the same audience on different occasions, a social relationship is likely to arise. Defining social role as the enactment of rights and duties attached to a given status, we can say that a social role will involve one or more parts and that each of these different parts may be presented by the performer on a series of occasions to the same kinds of audience or to an audience of the same persons.

Goffman, Erving. The Presentation of Self in Everyday Life. Garden City, NY: Doubleday, 1959, pp. 1-3, 7-8, 15-16. || Amazon || WorldCat

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