As we present ourselves in various situations, we are much like actors putting on performances for their audience, for example we revise our behaviours to suit or situation in the sense that we act differently when surrounded by friends as opposed to in the presence of authoritative and respectable figures. The way in which Goffman explains how people present themselves in society is with the metaphor of a theatrical performance shaped by environment and audience, constructed to provide others with "impressions" that are consonant with the desired goals of the actor (Goffman 1959, 17). A dramaturgic constructs the story and then plays the part using structure, metaphors and symbolic gestures to portray the story and the character they represent to the audience. It is important to note that an actor is also an audience to the audience, the actor can gauge the audience 's reaction to his performance and adjust it
Goffman, through the social interaction theory, tried to use this analogy to explain why we do certain things, react in certain ways, and explain others’ reactions. In Sociology Hub it states that “the quality of our performances is essential to our sense of self. More than that, we put our self on the line every time we engage in interaction. As much as possible, in our presentation of self, we try to shape how people perceive us and what kind of impression we make on the audience. Goffman calls this process impression management.
By using a Symbolic Interactionist perspective, Nosedive is explained through Erving Goffman’s dramaturgical analysis which includes the aspects of front stage, back stage, and embarrassment. Goffman’s dramaturgical analysis depicts life in the form of a theatrical performance where everyday life represents a stage and each individual is a performer (Brym et al. 2015, 129). Each performer acquires roles which contain expected behaviours that are appropriate to the performance of that role (Willmott, 2018). When we perform our roles to other actors and to our audience, we view them as theatrical productions.
In John D Mayer and Peter Salovey’s, “What is emotional intelligence?” emotional intelligence is described as “the ability to perceive emotions, to access and generate emotions so as to assist thought, to understand emotions and emotional knowledge, and to reflectively regulate emotions so as to promote emotional and intellectual growth” Mayer, J.D. (1997) “In the best of stories, it is actually characterization that moves the story along, because a compelling character in a difficult situation creates his or her own plot." (Bernardo). Our performers understand that they need to be able to portray believable emotions in order to portray the correct emotion to the audience. By completely being able to know their characters characterizations they will be able to create characters that the audience will want to follow.
Spectacle is essentially what the playwright intended to be seen during the performance of a play. This includes, but is not limited to, which characters appear on or offstage at a given time, what props and specific costume pieces the actors use, and what the set looks like. Of course, much of what the audience sees during a given production of a play, such as particular costume, stage directions, and sets, were altered to fit what the directors or designers envisioned for their production. Although scripts typically leave room
For this reason, he asserted, each human act is a personal action leaving an imprint on the person by becoming either better or worse. The essence of the human person according to Wojtyla is most adequately revealed through the correlation of action (acting ego) and actor (being ego) based on the gnosiological interdependence expressed in the principl operari sequitar esse. For Wojtyla this adage can lead to knowledge of who the person is and what the action can reveal about him. In his research Wojtyla employed the method of induction and reduction. In Part One of The Acting person, Wojtyla discussed the relation of consciousness and efficacy on the person in action.
In addition, rather than traditional theatre that would affect an audience on a passive intellectual level, I would like to look into other platforms for performance which can rouse audiences and invoke change within them. For example, comparing with the theatre with spatial imagery, contemporary performance works more with spatial experience and variant performer-audience relationship which might be related more to the dynamic artist-audience relationship in interactive art (section
A song can emotionally impact a person because all songs depict a certain theme. Theme of a song is present either to affect the person emotionally or to symbolize a problem within society. “Waiting Outside the Lines” by Greyson Chance presents both ideas of how in society, people view life with Boundaries, when life is meant to be explored rather than caged. Chances explains his idea of people taking a chance at life to view it in an unfamiliar perspective by using metaphors, the continuous transition of 1st and 2nd person point of view, the choice of interacting with the audience by asking questions, and finally with the repetition of the word “waiting” in the chorus. Also, according to the choice of rhythm and mood, the author incorporates a mood change and a tonal shift to present his own experience to gain the audience trust to do the same as him.
Acting was a frowned upon profession and actors faced much adversity everywhere they travelled to. They were seen as untrustworthy and treated with caution but as the theatre grew in demand, the title of an actor became more respectable and with time, great actors were treated almost as well as royalty and some became so wealthy their social class rose to nobles! In the Renaissance theatre, actresses didn’t exist but women were still portrayed on the stage. With their slimmer physique and lack of body hair, all women roles were played by young men or boys in the acting world. Costumes of the era could convey a lot about a character as soon as the actor walked on stage because different fabrics and colors represented separate classes.
Another scene where creative stagecraft is evident is the stair scene. The clown leads Richard up what is believed to be a staircase, while Richard can see that it really is just blocks. The inventiveness of the stagecraft shows the effective use of the rotating set. The director has created a stage which appears to show many different places over a short period of time. The play also shows evidence of Film Noir throughout, its use of imaginative comedic devices and ingenious characterisation creating an environment in which the
In the career makeup and theatrical performances one can experience all types of things and work at lots of places. When working in makeup and theatrical performances one has to have an open set mind, and one has to have a good set type of personality. There are a lot of places that hire people who are in this particular career like places in television, cosmetology, fashion shows, and broadcasting. In makeup and theatrical performances one will get to meet lots of people and learn the different techniques in doing makeup and hair. A career in makeup and theatrical performances require specific skills, and training, offers common compensation and benefits, and has an expected career path and opportunity in advancement.