at all, being an unintentional product of the individual’s unselfconscious response to the facts in his situation. And contrived performances we tend to see as something painstakingly pasted together, one false item on another, since there is no reality to which the items of behavior could be a direct response. It will be necessary to see now that these dichotomous conceptions are by way of being the ideology of honest performers, providing strength to the show they put on, but a poor analysis of it.
First, let it be said that there are many individuals who sincerely believe that the definition of the situation they habitually project is the real reality. In this report I do not mean to question their proportion in the population but rather the structural relation of their sincerity to the performances they offer. If a performance is to come off, the witnesses by and large must be able to believe that the performers are sincere.
This is the structural place of sincerity in the drama of events. Performers may be sincere – or be insincere but sincerely convinced of their own sincerity – but this kind of affection for one’s part is not necessary for its convincing performance. There are not many French cooks who are really Russian spies, and perhaps there are not many women who play the part of wife to one man and mistress to another; but these duplicities do occur, often being sustained successfully for long periods of time. This suggests that while persons usually are what they appear to be, such appearances could still have been managed. There is, then, a statistical relation between appearances and reality, not an intrinsic or necessary one. In fact, given the unanticipated threats that play upon a performance, and given the need (later to be discussed) to maintain solidarity with one’s fellow performers and some distance from the witnesses, we find that a rigid incapacity to depart from one’s inward view of reality may at times endanger one’s performance. Some performances are carried off successfully with complete dishonesty, others with complete honesty; but for performances in general neither of these extremes is essential and neither, perhaps, is dramaturgically advisable.
The implication here is that an honest, sincere, serious performance is less firmly connected with the solid world than one might first assume. And this implication will be strengthened if we look again at the distance usually placed between quite honest performances and quite contrived ones. In this connection take, for example, the remarkable phenomenon of stage acting. It does take deep skill, long training, and psychological capacity to become a good stage actor. But this fact should not blind us to another one: that almost anyone can quickly learn a script well enough to give a charitable audience some sense of realness in what is being contrived before them. And it seems this is so because ordinary social intercourse is itself put together as a scene is put together, by the exchange of dramatically inflated actions, counteractions, and terminating replies. Scripts even in the hands of unpracticed players can come to life because life itself is a dramatically enacted thing. All the world is not, of course, a stage, but the crucial ways in which it isn’t are not easy to specify.
The recent use of “psychodrama” as a therapeutic technique illustrates a further point in this regard. In these psychiatrically staged scenes patients not only act out parts with some effectiveness, but employ no script in doing so. Their own past is available to them in a form which allows them to stage a recapitulation of it. Apparently a part once played honestly and in earnest leaves the performer in a position to contrive a showing of it later. Further, the parts that significant others played to him in the past also seem to be available, allowing him to switch from being the person that he was to being the persons that others were for him. This capacity to switch enacted roles when obliged to do so could have been predicted; everyone apparently can do it. For in learning to perform our parts in real life we guide our own productions by not too consciously maintaining an incipient familiarity with the routine of those to whom we will address ourselves. And when we come to be able properly to manage a real routine we are able to do this in part because of “anticipatory socialization,”9 having already been schooled in the reality that is just coming to be real for us.
When the individual does move into a new position in society and obtains a new part to perform, he is not likely to be told in full detail how to conduct himself, nor will the facts of his new situation press sufficiently on him from the start to determine his conduct without his further giving thought to it. Ordinarily he will be given only a few cues, hints, and stage directions, and it will be assumed that he already has in his repertoire a large number of bits and pieces of performances that will be required in the new setting. The individual will already have a fair idea of what modesty, deference, or righteous indignation looks like, and can make a pass at playing these bits when necessary. He may even be able to play out the part of a hypnotic subject or commit a “compulsive” crime on the basis of models for these activities that he is already familiar with.
A theatrical performance or a staged confidence game requires a thorough scripting of the spoken content of the routine; but the vast part involving “expression given off” is often determined by meager stage directions. It is expected that the performer of illusions will already know a good deal about how to manage his voice, his face, and his body, although he – as well as any person who directs him – may find it difficult indeed to provide a detailed verbal statement of this kind of knowledge. And in this, of course, we approach the situation of the straightforward man in the street. Socialization may not so much involve a learning of the many specific details of a single concrete part – often there could not be enough time or energy for this. What does seem to be required of the individual is that he learn enough pieces of expression to be able to “fill in” and manage, more or less, any part that he is likely to be given. The legitimate performances of everyday life are not “acted” or “put on” in the sense that the performer knows in advance just what he is going to do, and does this solely because of the effect it is likely to have. The expressions it is felt he is giving off will be especially “inaccessible” to him. But as in the case of less legitimate performers, the incapacity of the ordinary individual to formulate in advance the movements of his eyes and body does not mean that he will not express himself through these devices in a way that is dramatized and pre-formed in his repertoire of actions. In short, we all act better than we know how.
When we watch a television wrestler gouge, foul, and snarl at his opponent we are quite ready to see that, in spite of the dust, he is, and knows he is, merely playing at being the “heavy,” and that in another match he may be given the other role, that of clean-cut wrestler, and perform this with equal verve and proficiency. We seem less ready to see, however, that while such details as the number and character of the falls may be fixed beforehand, the details of the expressions and movements used do not come from a script but from command of an idiom, a command that is exercised from moment to moment with little calculation or forethought.
In reading of persons in the West Indies who become the “horse” or the one possessed of a voodoo spirit, it is enlightening to learn that the person possessed will be able to provide a correct portrayal of the god that has entered him because of “the knowledge and memories accumulated in a life spent visiting congregations of the cult”; that the person possessed will be in just the right social relation to those who are watching; that possession occurs at just the right moment in the ceremonial undertakings, the possessed one carrying out his ritual obligations to the point of participating in a kind of skit with persons possessed at the time with other spirits. But in learning this, it is important to see that this contextual structuring of the horse’s role still allows participants in the cult to believe that possession is a real thing and that persons are possessed at random by gods whom they cannot select.
And when we observe a young American middle-class girl playing dumb for the benefit of her boyfriend, we are ready to point to items of guile and contrivance in her behavior. But like herself and her boyfriend, we accept as an unperformed fact that this performer is a young American middle-class girl. But surely here we neglect the greater part of the performance. It is commonplace to say that different social groupings express in different ways such attributes as age, sex, territory, and class status, and that in each case these bare attributes are elaborated by means of a distinctive complex cultural configuration of proper ways of conducting oneself.
