Symbolic Interactionsim, Dramaturgy and social relations

Social relations in the family, religious groups and sporting teams can be
understood using the ideas put forward by symbolic interactionism and dramaturgy. As
the Bloomsbury Guide to Human Thought (1993) states, the theorist Herbert Blumer
coined the term symbolic interactionism; the concept is used to attain insight into the
meanings of individuals in their social situations. This realm of thought can be used to
explore the social relations in these groups by using the ideas of Herbert Mead, who
spoke about several concepts such as meaning and the social act. The work of Erving
Goffman can also aid in this exploration, as he spoke about the concept of Dramaturgy,
which sees social life as a parallel to an actors performance on stage (Goodman and
Ritzer 2004, 224).
Social relations in the family can be first explored using the work of Mead, who
saw the human mind as a collection of internal dialogues and actions that are also shared
by others who are involved in the social act (Appelrouth and Edles 2011, 177). In this
vein, the family can provide a benchmark for behaviour; for instance, a child will take
the attitude of the other (177) and temper their actions to suit the expected reaction they
may get from their parents. Mead also speaks about meaning in social interaction, stating
that there are three facets to meaning: the gesture of the individual, the response of
another individual and a third, completing gesture by the initiating individual (Appelrouth
and Edles 2011, 179). In a family, one could use this concept to look at the example of
how a parent may interact with a child; the child may ask for something, for instance, a
snack or toy, and the parent will reply with either assenting to the request or denying it.

The child will then add the third point to the social interaction by, for instance, saying
Thank you if they have gotten what they have asked for, or even by crying or fussing if
they have been denied.
As Goffman theorises, the use impression management is an important factor in
social relations as well; it is the means by which a person attempts to maintain a good or
acceptable image for other actors (196). For instance a child may temper their tone and
their behaviour to remain acceptable in the eyes of their parents, and conversely, parents
and older siblings may also utelise this to appear acceptable for the child, in order to be a
good role model. This ties in with Goffmans definition of the situation, where in this
example, the child would, perhaps, appraise a parents raised voice as a queue to cease
their behaviour, as they have attributed this over time with their parent being upset with
what the child is doing (197).
In religious groups, Goffmans usage of stage imagery to describe behaviour can
give insight into the social relations within these groups. Goffman says that the front
refers to the part of an individuals performance which regularly functions in a general
and fixed fashion for those who observe the performance (Goffman 1959, 72). Goffman
says that the front has two parts: the setting, which is the physical setup and scenery of
the area and the personal front, which refers to items that those observing can identify
with the actor (Appelrouth and Edles 2011, 202). In a Christian religious group, for
instance, the setting may be a church, which contains vestments and items of worship that
signify it as being a place for persons to gather for devotion. The actor, the priest, would
have the personal front that may consist of clothing that signifies him as a priest to those
who attend the church. Similarly, if one considers the worshipers as actors, their Sunday

best clothing may be considered to be their personal front. The backstage, Appelrouth
and Edles (2011) explains, is the region of performance normally unobserved by and
restricted from, members of the audience. (202). In the case of worshippers, the
backstage could be their homes, where they get ready for church. Appelrouth and Edles
(2011) also state that rituals play a large role in social relations in the group, as they allow
participants to share an experience that brings them closer together (198). Thus, one
could consider mass in a church as a ritual that helps to reaffirm the congregations unity.
With respect to sporting teams Goffmans dramaturgical ideas of front and
backstage can also be used. The teams front is constituent of the field on which they
play, and their uniforms or their equipment can easily identify them. The backstage may
be the team locker room, where they ready themselves to play against other teams.
Impression management comes into play as each player may have a specific role on the
team; for instance, the captain would behave in a way that commands respect from his
teammates. Similarly to the religious groups, sports teams may also engage in rituals to
bring team members closer together and can help preserve camaraderie. Before a practice
session or a game, perhaps the team engages in a pep-talk wherein the captain and
coach try to motivate the members. In another example, a football team may huddle
together and share a moment of silence before a game to reaffirm their solidarity.
The social interactions of the sporting groups can be understood by Meads
concept of meaning within the social act. Teammates may have different positions to play
on the team, and thus, they must communicate in the game to perform all of their parts
well. In the instance of football, a goalkeeper may signal to one of their defenders to
move out further, and the defender will finish the social interaction by performing this

action. Both the social interaction and conscious thought of each actor within the social
act are necessary for meaning to be attached to these gestures. As Appelrouth and Edles
(2011) state, meaning does not exist within ones consciousness, nor does it exist
independently of the reality of interaction. (179).
In conclusion, one can use symbolic interactionism and dramaturgy to explore the
social relations in family groups, religious groups and sporting teams. Both Mead and
Goffman provide theories to explain several of the interactions that are typical to these
groups. Concepts such as meaning, front, backstage and impression management can
be used to show how behaviour and social interactions are both considered by actors
themselves and influenced by the social setting around them.

Works Cited
Appelrouth, Scott and Laura Desfour Edles. Sociological Theory in the
Contemporary Era. 2nd ed. London: Sage UK, 2011.
Goffman, Irving. The Presentation of Self in Everyday Life. New York: Anchor Books,
1959.
Goodman, Douglas and George Ritzer. Modern Sociological Theory,
136-149. 6th ed. New York: McGraw Hill, 2004.
"Symbolic Interactionism." Bloomsbury Guide to Human Thought. London: Bloomsbury,
1993. Credo Reference. Web. 19 Feb 2015.