A Book Review: The Presentation Of Self In Everyday Life
הפקולטה למדעי הרווחה והבריאות Faculty of Social Welfare & Health] טקסט Sciences [הקלד בית הספר לטיפול באמצעות אמנויות Graduate School of Creative Arts TherapiesAcademic Journal of Creative Art TherapiesDecember 2015V o l. 5 , I s su e 2A book review: The Presentation of Self in Everyday LifeGoffman, E. (2003). The Presentation of Self in Everyday Life. Ben Shemen: Modan Publishing.Reviewed by: Dov Blum-Yazdi - Drama Therapist and Clinical Criminologist. Graduate of psychotherapy mindbody-spirit program. Doctoral student in psychoanalysis and Hermeneutic: Bar-Ilan Uni. Works in "Place to be" adrama and arts therapy studio. Supervision and teaching in Arts Therapist training programs: Haifa Uni. and theAcademic College of Arts and society. Researcher of "Leelah - unintentional play model" and "The play paradigm":Theoretical Concepts of Power, Identity and Liberty in the Therapeutic Playing Field. A peace activist.The 'playing self' in sociologyThe stage modelThe fundamental question of self- identity seeks toIn his book The Presentation of Self in Everydaydefine and understand who I am and what I am. TheLife, Goffman (2003) presents the results of aphilosophical endeavor is to formulate what is essentialsociological study which uses the dramaturgicalto man and what are the values which are meaningful toperspective to explore social life. His stage modelhuman existence. There are many philosophicalassumes that life presents us with things that are real,approaches to this subject, from Socrates to the presentand which may not have been well rehearsed beforeday: these approaches offer distinctions betweentheir exposure before us: "it is possible that theexistence and essence; and between action and theappearance of he who performs in public will suffercontemplation of different self-perceptions. Each, in itsway, reveals the existence and formation of the Self. Infrom a lack of appropriate dramaturgical intention"this review article I refer to the book by the sociologist(ibid, pg. 53). In real life, the part played by theErving Goffman, "The Presentation of Self in Everydayindividual is suited in size to the parts played by the restLife", which presents the Self as 'a playing entity' or asof those present; "the rest of those present" refers to thea playing essence, and inquires as to the meaning of itsaudience. Therefore, a theatrical performance is nothinginsights in terms of the field of drama therapy. Whilebut a sham, as opposed to the performance of everydaythis book is not new, it is still significant and relevant tolife.drama therapy today.The principles of the modelAccording to Goffman, the individual must act insuch a way that he is able to express himself, whileDecember 2015Academic Journal of Creative Arts Therapieshttp://ajcat.haifa.ac.ilPage 346
Academic Journal of Creative Art Therapiesothers must, in some way, form an impression of him.together contribute to the all-embracing definition ofThe eloquence of the individual and his ability to createthe situation, and this definition does not necessarilyan impression on others include two types of essentiallyreflect true agreement as to what in fact exists; rather,dissimilar signaling operations: (a) the impressiontrue agreement as to the question of whose demands, orwhich the individual knowingly creates: formed bywhat questions, must be temporarily honored orthe verbal cues or substitutes which the individual usesaddressed. In addition, a real consensus regarding thein order to create the impression that he, and others,issue will prevail among the participants, sincetendavoidance of open conflict regarding the definition ofassociatewiththesesymbols.Thisiscommunication in the primary and conventional sense.the situation is preferred.(b) The impression created by his appearance: whichAccording to Goffman, given that the individualwe tend to consider "an unconscious effect" (ibid, pg.purposefully plans the definition of the situation when67): includes a wide range of action, which othershe enters the presence of others, we can assume thatconsider to be necessary for the process, and since it isincidents may occur during the interaction; and thesean unconscious impression, the act is perceived as real,incidents may contradict, cast a doubt on, or negate thehonest and sincere, and of an essential nature. Indefinition of the situation in question. When suchpractice, the information conveyed by the individual to"disruptions in execution" (ibid, pg. 177) occur, theothers using these two types of communication isinteraction itself may be suspended in a confusing andcontingent. In both cases, it is not the essential nature ofembarrassing manner. Some of the assumptions uponthe individual's own Self, rather a pretense orwhich the reactions of the participants were based loseembodiment of a role: "neither of these extremes istheir validity, and the participants feel themselvesnecessary." (ibid, pg. 68).immersed in an interaction for which the situation hasOf the two types of communication - the impressionbeen wrongly defined and in which it is no longer clear.that man creates and the impression of him created, DanAt such moments, that individual whose self-Goffman addresses mainly the latter, which is "therepresentation has been disrupted may feel shame,more theatrical and context-dependent kind" (ibid, pg.while the others may feel hostility towards him; all the15). If we accept the premise that an individual createsparticipants feel uncomfortable in such a situation: theya definition of the situation in his appearance beforestand bemused, helpless and at a loss. They experienceothers, we must realize that those others, passive asthe anomaly which occurs with the collapse of the tinytheir role may be, will themselves create their ownsocial system expressed in a face to face interaction.personal definition of the situation, as a result of theGoffman explains that the fact that the initialreactions to the presence of the aforementioneddefinition of the situation, created by the individual,individual as well as all of the modes of action initiatedmay be used as a basis for the resulting cooperation:in his presence: "even on the stage no 'hero' appearswhile emphasizing the point of view of the action, wealone. He is surrounded by a group of persons who givemust not overlook the crucial fact that every definitionvitality and meaning to his actions and words" (ibid, pg.of a situation created in this way also has a moral187). Therefore, such is Goffman's definition ofcharacter. For Goffman, the moral character of this planconsensus for work purposes: all of the participantsrepresents a major theme for discussion, as he claimsDecember 2015Academic Journal of Creative Arts Therapieshttp://ajcat.haifa.ac.ilPage 347
Academic Journal of Creative Art Therapiesthat human society is based on the principle accordingalmost happened, or disruptions which occurred andto which every person who has certain socialwhich were resolved in an admirable manner. It seemscharacteristics, has the moral right to expect that "othersthat no group exists which does not have a ready stockwill appreciate his worth and relate to him in anof plays, amusements and books of tales which teach aappropriate manner" (ibid, pg. 22).lesson; all of which are used as a source of jokes, aThe importance of disruptions in the definition ofmeans for the group to relieve anxiety, and as advicethe situation must not be evaluated according to theinstructing the group to moderate their demands andfrequency with which they occur, as it is clear that suchlimit their expectations.disruptions would occur more often if not for theIn summary, when an individual appears before thecontinuous implementation of preventive measures.other, he will have many motives to control theirGoffman argues that precautions are consistently takenimpression of the situation. Goffman's interest lies inin order to avoid such embarrassing situations and tothe presentation of common techniques which promptmake up for events whose disruption was notpeople to preserve this kind of impression, as well asprevented. According to Goffman, the strategies andthe results; i.e. the identity formed due to the use oftactics used by the individual to protect the definition ofthese techniques. This special program of activitiesa situation created by himself are called "protectivecarried out by the individual participating in themeasures" (ibid, pg. 180). When used by the individualinteraction, or the role fulfilled by the individual withinparticipating in an interaction to protect his definition ofthe combined activities of a live, active social system isthe situation and prevent the disruption of hisnot a topic for discussion by Goffman, since he viewspresentation of Self, these measures may also be calledthem to be a posteriori. The purpose of Goffman's essay"tact" (ibid, pg. 197). Goffman points out that mostis to discuss the dramaturgical processes of theimpressions can coexist because the recipients of theparticipant; his dramaturgical problems inherent in hisimpression also employ protective measures, or tact,presentation of Self and his actions before others, whichwhile receiving it.help or prevent him from creating a coherent "I". TheIn addition to the fact that precautions are taken tofocus of the discussion is on stage arts and on stageavoid any disruption of the planned definitions of themanagement, which are integrated into everyday life insituation, Goffman notes that "there is great interest insociety everywhere, and which provide Goffman with athese disruptions, and it [this interest] plays aclearly defined dimension for structured and systematicsignificant role in the social life of the group" (ibid, pg.sociological analysis: "therefore, we may not have to23). In groups, it is customary to play and makeanalyze performance based on quantitative criteria. itreciprocal social "pranks", into which embarrassment isis better that they be analyzed by artistic analysis" (ibid,intentionally integrated, which are not intended to bepg. 52).taken seriously. Intricate fantasies which involveCritiquecatastrophic shame are woven. Anecdotes from the pastTo understand the effects of Goffman's teachings on- real, modified or fictional, described in detail, are toldthe field of drama therapy, I will address three leadingand retold; disruptions which occurred and which werequestions: (1) What is the role of biology in the identitythwarted, disruptions which were avoided or whichof the Playing Man? (2) What will allow the playingDecember 2015Academic Journal of Creative Arts Therapieshttp://ajcat.haifa.ac.ilPage 348
Academic Journal of Creative Art Therapiessubject consistency / what will stabilize his being? (3)subject decides to create an identity. This identityWhat is the purpose of the individual who is playing?undergoes1. Biologism. Goffman's book suggests that any attemptpropose that the focus of drama therapy should be toto base psychoanalysis on a biological model, and anyallow the player to recognize the ever-changing truthattempt at the direct application of biological conceptsabout himself. Man can recognize his own truth onlyto a therapeutic field, will inevitably be misleading andwhen it is expressed in play. Only after he has beeneliminate the essential distinction between biology andplayed in the presence of the other does the player,culture. This is because mental representations are notwhoever he may be, win full recognition. It is via thenecessarily created in parallel to the physicalact of play that the player brings his 'self' into existence.developmentnoAs claimed by Lacan (Lacan & Miller, 1988), truth ispsychological characteristics which inevitably occur innot something waiting to be revealed, and it is notaccordance with the growth of the body or insomething which represents a unique essence. Theaccordance with the anatomy of the body. Suchmoment of revelation of truth regarding the Playingexplanations of human behavior, made by biologists,Man is the moment in which it is created; its discoveryignore the precedence of the construction of symbols inand its creation are the same, as they emergethe definition of self of the Playing Man (Blum-Yazdi,simultaneously.2014b).2. Cohesion. Many theorists have examined the fear refore,IThe question to be examined is whether we performbreakdown (Winnicott, 2010, 1999), the fear of thebiological reductionism, of mental effects, when wecollapse of the Self (Kohut, 2005), the difficulty ofassume that concepts borrowed from biology have acreating a continuous and uniform identity when playstructured mental representation? For example, is thehas no real value (Erikson, 1961), and the fear that theconcept of a phallus a tangible part of the body whichshow will not last (Goffman, 2003). The study byhas an actual mental representation, or is it a symbolHuizinga (2009, 1984) explains how a cohesivewithcultural'playing Self' was formed in the medieval period.which completely ignores theAccording to Huizinga, during this period the theatricalrelevance of biology, may miss important indicators. Ifplay of life itself was, among other things, a tool viathe meaning of "biologism" is understood correctly, i.e.,which lifestyle patterns were consciously redesigned.if it is understood to be ancillary, not a reduction ofThe Passion of the courtiers for secession, that gave risemental effects to raw biological determinism, in such athe need to provide a formal pattern of worldway that the power of the images enables them to act asexperience, "copied the real life to the drama era"mechanisms for release, then it is possible to support(2009, p 105). Meanwhile, life became a publicthe biological viewpoint as well.spectacleasymbolicperspective, calityThe social order is the main playing field in whichceremonial and stiff which exists in all social ritual.the Playing Man wishes to adopt an identity. ThisSuch play patterns, delivered in a historic manner andidentity can never be fully achieved. The socialembodied by symbols, provide an interpretation of lifeconstruct is not a field for the creation of a real,and of the world. This is the true value of a social ideal,authentic identity; rather, the reason for which thewhich establishes a symbolic system that serves as aDecember 2015Academic Journal of Creative Arts Therapieshttp://ajcat.haifa.ac.ilPage 349
Academic Journal of Creative Art Therapiesmechanism for the construction of meaning, as aThe interdependence between the viewer and theformula for the formalization, defamiliarization andviewed affects more than the quality of the theatricalexclusion of a chaotic and confusing reality. Thisexperience. The viewing by an external observer, asystem maps the world of experience, explains politicalfellow-man, another; or by the inner Self, the changinghistory and regulates the processes on two levels: theself, turns the behavior of the individual into a show -social level, generated by rituals and order; and thenot in the sense of a sham or pretense, but in thepsychological level, produced by the playing figure, thedeepest sense of the word: an activity directed at thecoherent Self. What began as role playing in the field ofother, and an awareness of him as an integral part of thesocial patterns was internalized as a value in areconstitution of the Self. As claimed by Lacan (1977):collection of common images and symbols used by"man's desire is the desire of / to the other" (pg. 235).cultural agents in the process of socialization and in theTherefore, my conclusion is that the subject emergesprocess of construction of the identity of Playing Manwhile being an other; that is, the subject comes into(Blum-Yazdi, 2014a).being from the perspective of the other. Because of this,According to Goffman, the cohesion of Self ofthe Playing Self of the individual is essentially anWestern Man is usually fed by illusion, such as theobject that someone else has aroused to. What createscohesion self which is created based on biology, Ourthe motivation / the attraction for the other is not somegoal is to support the illusion and confirm it. Lacaninternal trait of the thing itself, but the very existence of(2005), also refers to the illusion of cohesion self.the otherness. This fact tends to reduce the specialAccording to him, the only full and coherent exist,importance of the particular other, but at the same time,integrates in the symbolic order. Whereby the illusionit makes the existence of countless others visible. Theof the body provides the subject with stability and aplaying Self is the playing Self of / to the other. Theconstruct of reality. Illusions create a feeling that weplaying Self emerges to / for the other, and is therefore,know who we are, what our objects are, and what theessentially, the playing Self of the other. Its significancepurpose of life is; therefore, during drama therapyis also found in that it is the object of the playing Selfprocess, the illusion should not be interpreted. Theof the other, who receives recognition by another,illusion shapes the identity of the individual at play andadditional person. The signifiers, says Derrida (1978),the task of the subject is to examine his position in it.always only signifies other signifiers, and not theThe success of treatment in drama therapy, the creationessence beyond the words.of a coherent Self, may lie in the fact that the subjectThus, the playing Self is in constant motion fromrecognizes the illusion inherent in what is 'real'. Thisone 'other' to the next, the first 'other' always indicatingrecognition will allow the subject to deal with histhe second 'other', and so on. Therefore, drama therapysymptoms and alter his fate.is inevitably characterized by a never-ending process,3. Aim. According to Goffman (2003), the daily life ofas the playing Self is always playing for someone else.the Self is contingent on another, who observes him;If the identity of Playing Man is the identity of thesimilar to the theater, as a specific example of humanother, born in the field of the other, then the field inplay, since the medium of theater is built primarily onwhich this identity was born is a field without a master:the relationship between the viewer and the viewed.there is no Playing Other for the Playing Man, which isDecember 2015Academic Journal of Creative Arts Therapieshttp://ajcat.haifa.ac.ilPage 350
Academic Journal of Creative Art Therapiessimilar to the declaration of the emptiness of the HolySepulcher (Blum-Yazdi, 2013).In summary, the Playing Man originates in the other.Therefore, the most important point brought up by thisdiscussion is that the individual at play is a product ofsociety. The individual at play is not a private matter, asit appeared to be at first glance, rather, is always foundin a dialectical relationship with the perceived desiresof the other Play Subjects. The result of theinvestigation of this issue, and of the question of theextent to which the one at play in drama therapy maysurpass himself and make a radical choice to besomething else, may be the building of a model orstructure that takes into account that the Playing Manhas qualities of both consolidation and change.December 2015Academic Journal of Creative Arts Therapieshttp://ajcat.haifa.ac.ilPage 351
Academic Journal of Creative Art TherapiesReferencesBlum-Yazdi, D. (2013). Language, Kwan, World.Journal of east-west Psychology. Quart. No.3, 3.9, Bar-Ilan University.Kohut, H. (2005). How Does Analysis Cure? Tel Aviv:Am Oved.Blum-Yazdi, D. (2014a). Leelah - a play in itself: a nonLacan, J. (1977). The seminar, Book XI, The Fourintervention model of drama therapy. In Berger, R.Fundamental Concepts of(editor), Creation - The therapy heart (p. 67-95).Psychoanalysis, trans. Alan Sheridan, .London:Kriyat Bialik: ahch.Hogarth Press a
body-spirit program. Doctoral student in psychoanalysis and Hermeneutic: Bar-Ilan Uni. Works in "Place to be" a drama and arts therapy studio. Supervision and teaching in Arts Therapist training programs: Haifa Uni. and the Academic College of Arts and society. Researcher of "Leelah - unintentional play model" and "The play paradigm":
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Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
