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- W1994205279 abstract "The authors take their theatrical metaphor very literally, since the drama of social life provides materials for sociological analysis. Social scientists who theorize within the framework of performance theory must behave, in the first instance, like an audience at a drama; they must pay special attention to the nature, order, meaning, and consequences of gesture and speech and locate their scientific attitude in the attentiveness the philosophical spectator gives to the daily drama of human existence. Thus all of social reality is a presentation and enactment of personal roles; we are all players and All the world's a stage. Social reality, then, is realized theatrically. Otherwise put, reality is a drama, life is theatre, and the social world is inherently Dramatistic is a sociological synonym for dramatic. It is claimed that is a well-defined branch of rhetoric which strongly depends on the neo-Aristotelian criticism of Kenneth Burke and the psychological theories of Erving Goffman (especially in The Presentation of Self in Everyday Life). The romantic theories of theatrocracy propounded by Nicolas Evreinoff (as set forth in The Theatre in Life, 1927) are also evoked with a certain mysterious admiration, as are the basic contributions to dramatistics of Sigmund Freud and George Herbert Mead. There are other, less ponderous ways of phrasing Lyman and Scott's thesis. They are surely drawing on the literary idea of self-consciousness, that is now more fashionably called metaliterature (or metadrama), in which the artist manifests his own awareness of the act of creation. To take a familiar Shakespearean example (not used by Lyman and Scott), Cleopatra does not want to be taken prisoner by Octavius Caesar because she fears the shame of seeing her love affair with Antony debased by dramatic performance: I shall see / Some squeaking Cleopatra boy my greatness / I' th' posture of a whore (Antony and Cleopatra 5.2.219-21). The allusion depends on the fact that the boy actors played all the female parts on the Elizabethan stage, and these very lines are being spoken by an adolescent boy whose voice might easily crack at any moment, and who is even now boying Cleopatra's greatness. The self-consciousness is both ironic and grotesque, and it endows the action with a double perspective: the actors are representing characters, but they always remain aware of themselves as actors. This is the basic situation that Lyman and Scott study both in literature and in life." @default.
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- W1994205279 date "1975-01-01" @default.
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- W1994205279 title "The drama of social reality" @default.
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