35 Quotes by Erving Goffman

Our sense of being a person can come from being drawn into a wide social unit; our sense of selfhood can arise through the little ways in which we resist the pull. Our status is backed by the solid buildings of the world, while our sense of personal identity often resides in the cracks.

The self, then, as a performed character, is not an organic thing that has a specific location, whose fundamental fate is to be born, to mature, and to die; it is a dramatic effect arising diffusely from a scene that is presented, and the characteristic issue, the crucial concern, is whether it will be credited or discredited.

By definition, of course, we believe the person with a stigma is not quite human. On this assumption we exercise varieties of discrimination, through which we effectively, if often unthinkingly, reduce his life chances. We construct a stigma-theory, an ideology to explain his inferiority and account for the danger he represents, sometimes rationalizing an animosity based on other differences, such as those of social class.

Man is not like other animals in the ways that are really significant: Animals have instincts, we have taxes.

And I always feel this with straight people – that whenever they’re being nice to me, pleasant to me, all the time really, underneath they’re only assessing me as a criminal and nothing else. It’s too late for me to be any different now to what I am, but I still feel this keenly, that that’s their only approach, and they’re quite incapable of accepting me as anything else.27.

We have then, a basic social coin. With awe on one side and shame on the other. The audience senses secret mysteries and powers behind the performance, and the performer senses that his chief secrets are petty ones. As countless folktales and initiation rites show, often the real secret behind the mystery is that there really is no mystery; the real problem is to prevent the audience from learning this too.

There seems to be no agent more effective than another person in bringing a world for oneself alive, or, by a glance, a gesture, or a remark, shriveling up the reality in which one is lodged.

Whether an honest performer wishes to convey the truth or whether a dishonest performer wishes to convey a falsehood, both must take care to enliven their performances with appropriate expressions, exclude from their performances expressions that might discredit the impression being fostered, and take care lest the audience impute unintended meanings.

For years the scar, harelip or misshapen nose has been looked on as a handicap, and its importance in the social and emotional adjustment is unconsciously all embracing. It is the “hook” on which the patient has hung all inadequacies, all dissatisfactions, all procrastinations and all unpleasant duties of social life, and he has come to depend on it not only as a reasonable escape from competition but as a protection from social responsibility.