User:Mbs02d/frontstage

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FronstageBold text

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Bold text Content Overview Ralph Ellison -Invisible Friedmans Sociology of Front Stage
 * Fronstage
 * Social Structure
 * Theory on Front Stage
 * Drama
 * Arguments

Invisible Man (Ralph Ellison)

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Ralph Ellison thory concluded when one is invisble they are not visible or have no type of connection of being seen in society. However, Ralph Ellison purposes it is relevant to connect with the functions of life. Generally by being visible you are able to network and gain knowledge of other social, and expectations of others. It creates and enviorment that can be rigorous, but the aftermath process leads to empowerment. He notes that developing a identity in "front" sets you aside from those who are on the left, right, and back of you.

Overview

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Focusing on front stage one must connect with being visible and playing the part of a dramaturgical performance that genrally funcions in rather fixed and general ways to define the situation who observe the performance. Erving Goffman is the creator of introducing the "front stage" theory. It was introduced during the mid 1900's to identify the meaning of being in front. Being in "front" is what seperates us from the back stage. The front stage is a role that we play everyday which Goffman concludes is our social identity. Personally I connect the front stage acting as a movie with standardization, allowing for others to understand the individual basis of projected character traits. Might I add that, front stage puts you in many situations that apply to society. For example, negioating in a social network that is greatly influneced. If one was to be detailed and sought a rigorous study of the social processes of labor negoitations, he or she will unveil the pressure and motivations felt by negiotators (Front stage). In order to understand the front stage I agree with Goffman that "we are social creatures and as a result we crave interaction". Why would one need interaction if they are in front stage. Simply, they need to conect with some source or microrganism that will make them feel important.

Friedman's Soical Structure

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Friedmans theory of social structure of labor negotiations and the logic of the traditional negotiation process. It embarks on being in situations that connect with being in front. Furhtermore, he looked at cases where the traditional rituals of negotiation were set aside and new forms emerged and, in the light of these examples, addresses the options for and obstacles to change.In an unusual twist Friedman describes the persistence of the traditional negotiation process by developing a dramaturgical theory in which negotiators are seen as actors who perform for teammates, constituents, and opponents. They try to convince others of their skill, loyalty, and dedication, while others expect them to play the role of opponent, representative, and leader.

Friedman's Theory of Front Stage

Friedman shows that the front stage drama fulfills these needs and expectations, while backstage contacts between lead bargainers allow the two sides to communicate in private. The traditional labor negotiation process, he reveals, is an integrated system that allows for both private understanding and public conflict. Current efforts to change how labor and management negotiate are limited by the persistence of these roles, and are bound to fail if they do not account for the benefits as well as the flaws of the traditional rituals of negotiation.For negotiation scholars, Friedman's perspective provides an alternative to the rationalactor models that dominate the field his dramaturgical theory is applicable to any negotiations done by groups, especially ones that face political pressures from being in front. For labor scholars, this is the first integrated theory of the negotiation process that helps unite the four elements of their model. Being in front simply provides an example of how a dramaturgical perspective can be used to explain the logic and persistence of a social institution. I feel practitioners will appreciate this explanation of why change is so difficult.

Drama and Arguments

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Relating to "front stage" you must know that you will connect with two situations drama, and arguments. The question is how is drama relative to front stage. Each of us our placed in situations that apprehends us. Whether we may express our fears or worries through our body movements and non verbal expressions. Each of us have the opportunity to play roles we experience and chanllenge while in front stage. One being developing ourself through drama, which occur in many ways. We face different challenges that prepares us for the real world. In additon, it connect us with different personalities that we never thought we had. Furthermore, you will face a plethora of judgement. In most cases leads to arguments and arises in response to critiique and appears in a form "society did that." Some people often think its a good sological argument, since it uses society as basis for explanantion. Society is just a process, made up of ongoing interactions at levels of size and complexity, and it turns into a monolithic thing. Take note that once you developed a argument you need to find evident support that you can claim. You also need to be aware that critics will mirror ideolize oyu when you put yourself front stage.

References and Hyperlinking -The Presentation of Self Everyday Life -Dramaturgy -Speech Language Pathology in School Setting -Marshall Mc Clurk -Friedman

See Also -Impression Management -Social Stigma -Symbolic interactionism -Dramaturgical action -Ralph Ellison (Invisible Man)

External Links Robert Cohn, Role Distance. On Stage and On the Merry go Round. Jounral of Drmatic Theory and Critisicm. Fall 2004

Erving Goffman. The Presentation of the Self in Everyday Life. The Main Argument, and the starting Asumtption.

Life as a theater: A Dramaturgical Source Book. Second Edition. Brissett, Dennisand Edeley, Charles ed New York, New York, McGraw-Hill.

Adler P., (1987). Everday Life Sociology Annu Rev Social, 13217-35

Welsh J.(1990). Dramaturgical Analysis and Societal Critique Piscataway, New Jersey. Transactions Publishers

Journal/Essay Reviews JeanneCurran and Susan R.Takata. Erving Goffman and the Role of Dramaturgy in Linking Agency and Structural Context. September 2000. Science Committee Hearing on Social Sceience. 'Goffman'. Journals Mailing list and Advertising 2006.

Additional resources. www.hewett.norfolk.sch.uk/curric/soc/goffman.htm www.artslynx.org/theatre/drama.htm www.blackwood.org/Erving.htm