ypothesised that when one is born, they are thrust into the stage; that is life and their ultimate socialization is based on their ability to learn how to play their assigned roles from those around them.
He argued that in social interactions, people enact their roles in the presence of others who are also similarly engaged. Therefore, whatever one does, they are playing a role on the stage of life. Just like convectional theatre, “Life Theatre” has both the front and back stage. The former is where performances are prepared and where one can be their real self. On the other hand, the front stage is where people perform and deliver their lines; for example, when one is in a classroom behind a lectern or anywhere else in the public domain, they deliver their lines to create an impression. For instance, father may be a high school principal whereby in school he will act very stern and harshly, but his real self is gentle and soft spoken; a side he only showcases to his family. Conversely, he could also be kind and gentle at work, but brutal and cruel when he is in his home (backstage). In the words of Oscar Wilde, “Give a man a mask and he will show you his true face” He suggests that people are their real self only when they are unobserved or in their private space and this appears to be in line with the dramaturgical construct of the backstage reality. This is certain as Goffman (1974) postulates that the most important aspect for interaction between an individual and society is consensus similar to that between the actor and audience. Thus, the latter can see the former for what they are presenting themselves as irrespective of contrary imputation or evidence. According to him, just like a stage in which the audience is often manipulated by the creation of different impressions, people also use various mechanisms referred to as “sign vehicles” such as the social setting, appearance and mode of interaction to represent themselves to others in the