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The Presentation of the Self in Everyday Life – A Summary

A summary of The Presentation of the Self in Everyday Life by Erving Goffman, and a brief discussion of its relevance to A level Sociology.

Executive Summary

The best way to understand human action is by seeing people as actors on a ‘social stage’ who actively create an impression of themselves for the benefit of an audience (and, ultimately themselves).

When we act in the social world, we put on a ‘front’ in order to project a certain image of ourselves (call this part of our ‘social identity’ if you like) – we create a front by manipulating the setting in which we perform (e.g. our living room), our appearance (e.g. our clothes) and our manner (our emotional demeanour).

In the social world we are called upon to put on various fronts depending on the social stage on which we find ourselves and the teams of actors with whom we are performing – the work-place or the school are typical examples of social stages which require us to put on a front. On these social stages we take on roles, in relation to other team-members and carefully manage the impressions we give-off in order to ‘fit in’ to society and/ or achieve our own personal goals

Impression management involves projecting an ‘idealised image’ of ourselves, which involves concealing a number of aspects of a performance – such as the effort which goes into putting on a front, and typically hiding any personal profit we will gain from a performance/ interaction.

Unfortunately because audiences are constantly on the look-out for the signs we give off (so that they can know who we are) ‘performers can stop giving expressions, but they cannot stop giving them off’. This means that we must be constantly on our guard to practice ‘expressive control’ when on the social stage. There are plenty of things that can go wrong with our performance which might betray the fact that we are not really the person who our act suggests that we are – we might lose bodily control (slouch), or make mistakes with our clothing (a scruffy appearance) for example.

Acting out social roles is quite demanding and so in addition to the front-stage aspect of our lives, we also have back-stage areas where we can drop our front and be more relaxed, closer to our ‘true-selves’, and where we can prepare for our acting in the world.

We generally tend to think of performances as being of one or two types – the sincere and the contrived. Some people sincerely believe in the parts they are playing, they invest their true selves in the impression they give off, this is the typical case. However, other people act out their roles more cynically – they do not believe the parts they are playing are a reflection of their ‘true selves’ but instead only play their part in order to achieve another end.

However, most performances on the social stage fall somewhere between these two realities. What is required in social life is that the individual learn enough about role-playing to fulfil the basic social roles that are required of him during his life – most of us ‘buy into this’ and act out what is expected of us, so we invest an element of ourselves into our roles, but at the same time we don’t necessarily get into our roles in a gung-ho sort of way…. So most acting is neither fully ‘sincere’ or fully ‘contrived’ and most people oscillate between sincerity and cynicism throughout the day and throughout the role they are playing.

Some of the roles we play contradict each other – and so we need to keep audiences separate – some performances are only meant for certain audience members – For example a student might act studiously while at school but more care-free while amongst his friends outside of school.

Thankfully most audience members are tactful and voluntarily stay away from back-stage areas where we prepare for our social roles, and if we ever ‘fall out of character’ they tend to engage in ‘tactful inattention’ in order to save the situation.

The significance of Goffman’s work for A level Sociology

From a theoretical point of view Goffman criticises structuralist (Functionalist and Marxist) theories of socialisation – Marxism for example argues that school socialises children to passively accept authority and hierarchy thus preparing them for exploitation in later life. What Goffman’s theory suggests is that many children might just be acting out this acceptance of hierarchy in order to get through school with as little hassle as possible, while backstage they may think school is not particularly important, and they may not accept authority.

From a research methods point of view the significance of Goffman lies in the fact that f we really want to understand people, we would need to engage in participant-observation in order to get back-stage with them, because we only get to see peoples true feelings when they stop performing.

If a researcher merely gave people a questionnaire to fill out, or even if they did an in-depth interview with them – they could be perceived by the respondent as a member of an audience – and the results we get could just be a performance put on for the benefit of the researcher.

Ultimately from this Interactionist/ dramaturgical perspective human interaction is so intricately complex that the correct way to study human action is to look at either individuals or small groups and focus on the efforts they make to maintain their identities in public, and how these social identities differ from their more relaxed selves when they are back-stage.

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