According to Charles Cooley’s (1902) looking-glass self theory, there are three elements in the social construction of our sense of self: i. how we imagine we appear to relevant Others; ii. how we imagine they judge us according to our appearance; and iii. how judgements made by Others make us feel about our sense of self. The last of these three elements explain how thoughts often influence behaviour. For example, if judgements made by Others make us feel mortified we might modify our actions and behaviours to conform to their expectations. However, actions and behaviours cannot be considered in isolation of the characteristics associated with human bodies, and the structural power relationships that exist in society.
Please comment on this post by suggesting how Cooley’s theory can be critiqued in the context of an employment interview, where the interviewers are White middle-class males, and the interviewees are not the same gender, ethnicity or social class. You can also respond with your own critique, highlighting what Cooley’s theory acknowledges and overlooks.
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Goffman’s (1966) theory of impression management articulates the dramaturgical approach of frontstage and backstage social performances. Goffman argues that as social actors we adjust our frontstage performances, to conform to the expectations of the audiences we are performing to. This requires what he refers to as dramaturgical discipline. As such, social actors are required to ensure that the mask never slips during their performance. They must understand how their frontstage persona has to be separated from the backstage true self, so that performances are always convincing to the audience. However, the frontstage self and backstage self are not necessarily distinct and separate social identities. There tends to be some overlap between how we perform to our audiences and who we really are.
Please comment on this post by identifying one of your frontstage performances and its relevant audience. Explain how you employ dramaturgical discipline to conceal your backstage self, whilst maintaining your frontstage persona.
Consider how your backstage self might influence your performance in different social settings. Frontstage performances relate to your social interactions with relevant Others [audiences] in various social settings and situations [stages]. For example, student, parent [son or daughter], employee, intimate relationships, friendships, all involve different frontstage performances that sometimes intersect.
SOCIAL ACTION SOCIETY C.I.C. 
in the example of the job interview, Cooleys’ theory may be seen play out with an interviewee from a different cultural background to the interviewers may avoid talking about their culture or slightly conceal certain elements because of experiences in the past with other White middle class people judging their culture or changing their opinion on them because of their different backgrounds.
one of my front stage performances is at my job, working in hospitality requires almost a constant performance in front of customers to maintain a polite and reasonable manner, this performance changes a lot during a shift depending on the customers and what they expect of me as a staff member, some want a more friendly, informal way of interacting and some think I should be more formal and serious. this also links to Cooleys’ theory because my decision on how to act towards a customer comes from how I think they will judge my behaviour and how I act will affect their experience.
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Front stage helps others feel at ease
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When I was working at my job at sports direct my front stage was being polite (even if they were being rude) and making sure customers got what they needed. If I didn’t act this way a customer might complain as I didn’t meet there expectations for customer service by being friendly and helpful, as well as not loosing my temper if they were being rude to me by instead staying calm and listening to their complaints.
RS
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One of my front stage performances is when I’m at work, I work as a Teaching Assistant in an SEN school, one of the performances I have to take on is being a responsible, effective communicator to set a positive example to the students. This often changes depending on the child and whether they have any verbal communication at all, for some children who are completely non-verbal I may have to use more symbols or basic language, whereas with older, more high-functioning children, I may have to use more advanced vocabulary and encourage conversation to ensure their conversational skills develop. Also, I tend to be more friendly and approachable to all children and other staff members at work, whereas I might me more introverted out of work. My dramaturgical discipline comes in the sense of I know I’m at work and I’m being paid, I must be approachable and have a positive impact on the child’s development. There are even times where my discipline slips into my backstage role, for example, at times I want to give the child a hug to comfort them when upset, as this is what I would do at home with my baby sister, but other staff members ask me to leave them to learn the importance of self-soothing. Jasmeen B
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If I’m socialising with friends after a stressful week, my friends might expect me to be fun, so I’d put on a frontstage persona of being care and stress-free, even if backstage I’m mentally drained. To maintain this performance, I’d regulate my emotions and be engaged. In class, I’d present a focused and calm front, while with my parents, I might show more of my backstage stress. In different settings, I manage different frontstage performances to align with the audience’s expectations, keeping certain aspects of my backstage self hidden. TG
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In professional settings, we perform in line with the expectations of our audiences (customers or bosses), such as being well-spoken, presentable and polite.
However, in my experience, I believe that a lot of backstage characteristics are harder to conceal than others, considering culture, class and social capital. Being black and working class, for example, can immediately alter the audience’s expectations of these types of performers (providing services).
Goffman (1966) explains how performance disruptions occur when the audience is unwilling to “play the game of polite interaction” which often causes scenes, threatens performers’ discipline and results in feelings of embarrassment/discomfort.
With this in mind, our backstage selves may continue to carry these experiences of discomfort and possibly influence our front stage performances in these particular social settings.
B.S
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One of my frontstage performances happens in school, where I have to present myself as focused, engaged, and sometimes even more confident than I actually feel. My audience includes my classmates, lecturers, and anyone who expects me to act a certain way as a student. Even on days when im tired, distracted, or feeling unmotivated, I have to maintain that front paying attention in class, participating in discussions, and acting like I have everything under control.
But my backstage self is different. When am alone or with close friends, I don’t have to keep up that same level of discipline. I can be more relaxed, complain about stress, or just be myself without worrying about how I’m perceived. Still, my backstage self influences my frontstage performance. For example, if I’m passionate about a subject, that enthusiasm might naturally come through, making my performance more authentic. On the other hand, if I’m struggling, I have to work harder to keep my frontstage act convincing.
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In the context of an interview, Cooley’s theory has limitations as it is important to recognise that the interviewees all have different characteristics. This means that before being able to convince the interviewer that they are a good fit for the job, they must first focus on disproving the interviewers’ preconceived ideas about them based on their race, ethnicity and gender.
One of my front stage performances occurs while I am at work. I work as part of the management team in a pub. Being a woman and also one of the youngest staff members means that I am often not taken seriously, especially if I act as myself. It is important for me to act slightly more masculine in certain situations to make sure that my colleagues do the tasks I ask them to do. However, I can also take advantage of my femininity as this allows me to appear ‘sweeter’ so customers are more likely to behave in the presence of a woman. It also means that I can break up disagreements with customers easier as a fight is less likely to take place if a woman is in the middle of it. My performance is different if I am working on the bar to if I am working on the floor, and is also different if I am customer facing or if I am working in the kitchen with other staff members.
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