日常生活的自我呈现▪社会角色

All The World's A Stage
a poem
by William Shakespeare

All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages. At first, the infant,
Mewling and puking in the nurse's arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon's mouth. And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

All the world's a stage,And all the men and women merely players;They have their exits and their entrances,And one man in his time plays many parts,

全世界是个舞台，男男女女不过戏子而已；他们上场下场各有其时。——莎士比亚《皆大欢喜》

About the poem - All the world's a stage - A monologue from William Shakespeare's play 'As You Like It', spoken by the melancholy Jaques in Act II Scene VII.

舞台上的表演者

这个报告所采用的研究方法是戏剧表演，由此推演出来的理论原则是舞台表演原则。我将仔细考察个人在日常工作环境中将怎样表现自我，他对他人采取什么样的行动，他怎样引导和控制他人对他的印象，以及他在别人面前进行自我表演时将会做些什么，又会避免做些什么。在运用这一模式时，我并不想去回避其明显的缺陷。在舞台上出现的东西并不是真实的，而在生活中出现的事物却很可能是珍视的，而且经常没有得到充分的预演。更重要的一点也许是，在舞台上，一个表演者只扮演着一种角色，而其他角色都是由其他人扮演的，观众们构成了互动中的第三方，而且是最为重要的一方。然而，如果舞台表演是真实的话，这第三方就就不存在了。在实际生活中，这三方被压缩成了两方。个人表演的角色要根据在场的其他人所扮演的角色而定，但一方面，这些所谓的其他人又构成了观众。

The perspective employed in this report is that of the theatrical performance; the principles derived are dramaturgical ones. I shall consider the way in which the individual in ordinary work situations presents himself and his activity to others, the ways in which he guides and controls the impression they form of him, and the kinds of things he may and may not do while sustaining his performance before them. In using this model I will attempt not to make light of its obvious inadequacies. The stage presents things that are make-believe; presumably life presents things that are real and sometimes not well rehearsed（排練）. More important, perhaps, on the stage one player presents himself in the guise of a character to characters projected by other players; the audience constitutes a third party to the interaction（相互作用）— one that is essential and yet, if the stage performance were real, one that would not be there. In real life, the three parties are compressed into two; the part one individual plays is tailored to the parts played by the others present, and yet these others also constitute the audience.

According to Goffman, there are regions: front stage, back stage and off-stage. Each region can affect one’s performance. In front stage, people act base on the expectations of his audience. Any movement, act or behavior is a reflection of his personality as a performer.

In the back stage, the performer acts differently. He is free from any expectations of his audience. Here, the performer is more relaxed and can do whatever he wants without worrying that there is someone watching him. 引自：https://myimapstory.atavist.com/online-self-presentation

嘘寒问暖的作用

当一个人出现在其他人面前时，他们往往要询问关于他的情况，或者把他们自己已经掌握的有关他的情况加以运用。他们对他的一般社会经济地位、他对自我的看法、他对他们的态度、他的能力、他的可信赖性等情况都会怀有强烈的兴趣。虽然获取其中一些信息本身并没有什么特殊的意义，但在通常的情况下，获取其中有些信息却具有非常实用的价值。有关该个体的信息将有助于做出情境定义，使他人能够预先知道他对他人有什么期望，同时也能够使其他人知道他们自己可以对他做出哪些期望。如果其他人知道了这些信息，他们能够见机行事，以便使他做出他们希望得到的反应。

When an individual enters the presence of others, they commonly seek to acquire information about him or to bring into play information about him already possessed. They will be interested in his general socio-economic（社會經濟） status, his conception of self, his attitude toward them, his competence, his trustworthiness, etc. Although some of this information seems to be sought almost as an end in itself, there are usually quite practical reasons for acquiring it. Information about the individual helps to define the situation, enabling others to know in advance what he will expect of them and what they may expect of him. Informed in these ways, the others will know how best to act in order to call forth a desired response from him.

交往的允诺性

我们必须充分意识到，我们日常生活实际上既不能十分精确地、又不能十分科学地决定我们的生活，做出我们的决定和实现我们的不表。我们根据推理而生活。假如我是你的客人，你既不知道，也不能科学的判断出我会偷你的钱或你的钥匙。但根据推理，你知道我不会这样做；同样根据推理，你会请我做客。

As William I. Thomas suggested:

It is also highly important for us to realize that we do not as a matter of fact lead our lives, make our decisions, and reach our goals in everyday life either statistically or scientifically. We live by inference. I am, let us say, your guest. You do not know, you cannot determine scientifically, that I will not steal your money or your spoons. But inferentially I will not, and inferentially you have me as a guest.

个体对自己行为的有利调节

不管个体心中会持有什么特殊的目的，也不管他的这种目的是出于什么动机，如果他能够控制他人的行为尤其是他们对他自己的反应和看法，那么，他总是能从中获益的。这种控制的实现，主要靠对由其他人逐步形成的情境定义施加的影响；而要对情境定义加以影响，他就必然在其言行举止中流露出某种印象，使其他人能自觉自愿地把他们的行为与他本人的计划协调起来。因此，当一个人在其他人面前出现时，他总有某种理由对自己的行为进行调节，以便使这种行为对他人传递一种对他有利的印象。

Regardless of the particular objective which the individual has in mind and of his motive for having this objective, it will be in his interests to control the conduct of the others, especially their responsive treatment of him.3 This control is achieved largely by influenc-ing the definition of the situation which the others come to formulate, and he can influence this definition by expressing himself in such a way as to give them the kind of impression that will lead them to act voluntarily in accordance with his own plan. Thus, when an individual appears in the presence of others, there will usually be some reason for him to mobilize his activity so that it will convey an impression to others which it is in his interests to convey.

Belief in the Fart One is Playing

相信自己所扮演的角色

I have suggested two extremes: an individual may be taken in by his own act or be cynical about it. These extremes are something a little more than just the ends of a continuum. Each provides the individual with a position which has its own particular securities and defenses, so there will be a tendency for those who have traveled close to one of these poles to complete the voyage. Starting with lack of inward belief in one's role, the individual may follow the natural movement described by Park:

It is probably no mere historical accident that the word person, in its first meaning, is a mask. It is rather a recognition of the fact that everyone is always and everywhere, more or less consciously, playing a role . . . It is in these roles that we know each other; it is in these roles that we know ourselves.
In a sense, and in so far as this mask represents the conception we have formed of ourselves—the role we are striving to live up to—this mask is our truer self, the self we would like to be. In the end, our conception of our role becomes second nature and an integral part of our personality. We come into the world as individuals,achieve character, and become persons

西部世界

日常生活的自我呈现（中英文）——戈夫曼

社会学