Editing Impression management (section)

=== Dramaturgical analogy ===
Goffman presented impression management [[Dramaturgy (sociology)|dramaturgically]], explaining the motivations behind complex human performances within a social setting based on a play metaphor.<ref>Dillard et al., 2000</ref> Goffman's work incorporates aspects of a symbolic [[Interactionism|interactionist]] perspective,{{sfn|Schlenker|1980|p=34}} emphasizing a qualitative analysis of the interactive nature of the communication process. Impression management requires the physical presence of others. Performers who seek certain ends in their interest, must "work to adapt their behavior in such a way as to give off the correct impression to a particular audience" and "implicitly ask that the audience take their performance seriously".<ref name=":2" /> Goffman proposed that while among other people individual would always strive to control the impression that others form of him or her so that to achieve individual or social goals.<ref>{{Cite book|title=The Social Thought of Erving Goffman|last1=Jacobsen|first1=Michael|last2=Kristiansen|first2=Søren|date=2015|location=Thousand Oaks, California|doi=10.4135/9781483381725|isbn=9781412998031}}</ref>

The actor, shaped by the environment and target audience, sees interaction as a performance. The objective of the performance is to provide the audience with an impression consistent with the desired goals of the actor.<ref>Barnhart, 1994</ref> Thus, impression management is also highly dependent on the situation.<ref>Goffman 2006, p. 40.</ref> In addition to these goals, individuals differ in responses from the interactive environment, some may be non-responsive to an audience's reactions while others actively respond to audience reactions in order to elicit positive results. These differences in response towards the environment and target audience are called [[self-monitoring theory|self-monitoring]].<ref name="Doring">Döring 1999, p. 262.</ref> Another factor in impression management is [[self-verification theory|self-verification]], the act of conforming the audience to the person's [[self-concept]].

The audience can be real or imaginary. IM style norms, part of the mental programming received through socialization, are so fundamental that we usually do not notice our expectations of them. While an actor (speaker) tries to project a desired image, an audience (listener) might attribute a resonant or discordant image. An example is provided by situations in which embarrassment occurs and threatens the image of a participant.<ref>Goffman 1956</ref>

Goffman proposes that performers "can use dramaturgical discipline as a defense to ensure that the 'show' goes on without interruption."<ref name=":2" /> Goffman contends that dramaturgical discipline includes:<ref name=":2" />
# coping with dramaturgical contingencies;
# demonstrating intellectual and emotional involvement;
# remembering one's part and not committing unmeant gestures or faux pas;
# not giving away secrets involuntarily;
# covering up inappropriate behavior on the part of teammates on the spur of the moment;
# offering plausible reasons or deep apologies for disruptive events;
# maintaining self-control (for example, speaking briefly and modestly);
# suppressing emotions to private problems; and
# suppressing spontaneous feelings.