This article examines Erving Goffman’s dramaturgical approach, focusing on how individuals present themselves in everyday life, the role of social expectations, and the impact of gender roles in the Turkish context. By exploring Goffman’s concepts of front stage, back stage, role, and impression management, the study connects his theory to contemporary Turkish society. It discusses how self-presentation, gender roles, family structure, social media use, and youth culture in Turkey shape the presentation of self. The analysis reveals that Goffman’s dramaturgical approach remains highly relevant today, particularly in understanding how social media and traditional gender roles interact to shape individual identity performances.
Society is a dynamic structure in which individuals constantly interact. In everyday life, people are not only guided by their personal characteristics but also by social expectations and norms. Erving Goffman’s influential work, “The Presentation of Self in Everyday Life” (1956), offers a theoretical framework for understanding such social interactions. Goffman compares social life to a theatrical performance, where individuals are actors who perform various roles in front of an audience. This metaphor is crucial for analyzing how people behave in different contexts, how they manage impressions, and how societal expectations influence their identities.
This paper explores Goffman’s dramaturgical approach with a particular focus on Turkey. It discusses social roles, gender roles, and the transformation of self-presentation in the digital age. Special attention is given to how social media and gender expectations shape front and back stage performances in contemporary Turkish society.
2. Dramaturgical Approach and Self-Presentation
According to Goffman, social life resembles a theater stage where individuals act as both performers and audience members. They engage in impression management to influence how others perceive them. Goffman’s dramaturgical approach is structured around four central concepts: front stage, back stage, role, and impression management.
2.1. Front Stage and Back Stage
The front stage refers to the arena where individuals act in accordance with social norms and expectations. For example, in Turkey, a teacher demonstrating authority and discipline in the classroom is performing on the front stage. The back stage, however, is the private sphere where individuals can relax and behave more authentically. The same teacher, at home with family members, may display a warmer, more relaxed personality.
2.2. Role and Script
Individuals take on different roles depending on the context. Each role is shaped by a “script” that defines expected behavior. For instance, in Turkey, young people may act respectfully and obediently within the family setting, while adopting humorous and casual roles among friends. Online, they may create entirely different identities that align with digital subcultures.
2.3. Impression Management
Impression management refers to the strategies individuals use to influence how others perceive them. In Turkey, job applicants often emphasize professionalism, reliability, and teamwork during interviews, carefully curating their image to align with workplace expectations. Similarly, on social media, people often share positive and idealized aspects of their lives, hiding personal struggles to maintain a favorable impression.
3. Gender Roles and Social Expectations in Turkey
Gender roles are one of the most influential factors in shaping self-presentation. In Turkey, women are often expected to be polite, smiling, and self-sacrificing, while men are expected to be strong, decisive, and emotionally restrained. These gender-based expectations determine the kinds of roles individuals adopt on different stages of social life.
For example, women in the workplace are frequently expected to balance professionalism with a feminine demeanor, while men are encouraged to be assertive and authoritative. These expectations illustrate how Goffman’s concepts of role and impression management operate within the framework of gender. Moreover, the persistence of patriarchal norms in Turkey creates additional pressures, as women are often judged based on appearance and domestic roles, whereas men are evaluated on their ability to provide and lead.
4. Self-Presentation in the Age of Social Media
In contemporary Turkey, social media platforms such as Instagram, TikTok, and X have become major arenas for self-presentation. They function as extended front stages where individuals continuously perform curated versions of their lives. Positive moments, achievements, and aesthetically pleasing images dominate these platforms.
Among Turkish youth, social media also reinforces gender roles. Women often emphasize beauty, fashion, and lifestyle in their posts, while men highlight strength, financial success, and confidence. These performances illustrate how traditional gender norms are reproduced and amplified in digital contexts. Furthermore, the distinction between front and back stage becomes blurred, as private life is increasingly shared with online audiences.
5. Conclusion
Goffman’s dramaturgical approach remains a valuable framework for analyzing self-presentation in both traditional and digital contexts. In Turkey, gender roles, family dynamics, and social media practices strongly influence how individuals perform their identities. Women and men adopt different strategies to meet social expectations, reflecting deep-rooted cultural norms as well as the impact of global digital trends.
Ultimately, Goffman’s approach demonstrates that self-presentation is not merely an individual choice but a socially constructed process shaped by cultural norms and power relations. His dramaturgical framework continues to serve as an essential analytical tool for understanding identity construction in modern societies, including Turkey.
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