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The purpose of this paper is to examine how rhetoric of cooperation is expressed and constructed during rituals of consultation and how this rhetoric is integrated into the consultant’s dramaturgical awareness that incorporates both impression management and the expression of self.

This paper uses a discursive approach and semi-structured interviews with directors and consultants working in the healthcare sector, a sector that routinely employs consultants to accompany directors in organizational change management. Rhetoric is constructed around four narrative lines that also constitute the four ritualized phases of the consulting process.

The mantra of “respect rituals of passage and avoid breaking frames” is an integral part of the consultant’s dramaturgical awareness throughout the process, so as not to infringe upon the order of the interaction established with the directors. Moreover, the development of cooperative relations with other members of the organization is based largely on a rather vast repertoire of action resources that the consultant will have to deploy to face four areas of uncertainty in the rites of interaction; namely, anticipation, interpretation, delegation and adherence. Furthermore, this cooperation is far from definitively acquired and must be reflected upon along the way to maintain control over the definition of the situation. This study expands upon the interrelations between the strategic actor and the reflective practitioner in a consultant’s dramaturgical awareness.

Practical implications are highlighted using the notion of reflective contract (Schön, 1983) for managers as clients, the transcendental precepts of authenticity put forward by Coghland (2008) for consultants as practitioners, and progressive forms of critical theory performativity as suggested by Spicer et al. (2009) and Wickert and Schaefer (2015) for researchers.

The concept underlying this study is dramaturgical awareness. It is a concept but sparingly explored in the literature, yet nonetheless present among advocates who promote organizational dramaturgy based on the work of Goffman. This concept is linked to Crozier and Friedberg’s theory of the strategic actor and Schön’s theory of the reflective practitioner.

Academic research on management consulting or having management consultancy as the main research field is huge as the sector is a strategic one for management innovation, but a systematic and updated literature review is missing. This paper aims to fill this gap by providing a comprehensive systematic review of scholarly peer reviewed journals looking at the ambivalent roles of consultants in driving management innovation as well as management fashions.

A systematic literature review has been performed.

This paper provides a systematization of existing literature, where the state of the art is assessed and future research paths are highlighted.

The proposed research fills the gap concerning a review of literature on this topic and provides an analysis of 50 years of scholarly research, highlighting both the bright and dark sides of management consulting.

This chapter reports on the interaction dynamics of a workplace exercise group for beginners. Dramaturgical stress occurred here as individuals who already knew each other as competent colleagues felt embarrassed about encountering one another in this low ability exercise group. To resolve this role conflict, participants sought to define themselves as familiar strangers (which they were not) through minimal interaction in non-binding relationships. This was achieved through three types of facework strategy: not only the defensive and protective kinds that Goffman identified as saving individual faces, but also collective strategies, which sought to repair the face of the whole group. Paradoxically, therefore, in attempting to deny their “groupness,” these actors actually displayed and reinforced their solidarity as a performance team.

Transmedia – a single experience that spans across multiple forms of media – is still a new media in the educational landscape and therefore may pose a challenge to educators wanting to create opportunities for interactive media communications in their classrooms. In this chapter, we share an instance in which a university professor introduced transmedia to support graduate student learning to encourage inquiry, critical thinking, problem solving, creativity, contemplation, and critical discourses. Further, we examine how two of the graduate students took their learning a step further by designing and creating a model transmedia lesson tailored for the 6th grade Social Studies classroom. This chapter provides a theoretical framework within which transmedia may be used: Learning and teaching as communicative actions theory – LTCA.

Purpose – To analyse the patterns of deception that take place at five different levels of intimacy: fleeting encounters between strangers, performance teams and their audiences, competitive game play between teammates, intimate partners, and individual selfhood.

Approach – Symbolic interactionist and dramaturgical theories are applied alongside Simmel's dialectical model of social relations.

Findings – Symbolic interactionist theories posit that deception can be socially good, regardless of whether it is morally right or wrong, because of its facilitative effects on interaction order. While applicable to the tactful ‘polite fictions’ that characterise some routine encounters in everyday life, this model of pragmatic rationality becomes complicated when we analyse its deployment in more intimate forms of social relationship. Drawing on Simmel's dialectic of fascination and fear, I suggest that the relative influence of these factors shifts as intimacy increases: cautious reserve gives way to trust, excitement and risk taking, experienced through both collusive deception and honesty. This culminates in the Goffmanesque ‘transceiver’, an agent who can take the view of both fraudster and victim simultaneously, viewing the social drama from both perspectives; fear, suspicion and cynicism then paradoxically re-emerge. The consequences of transceivership are explored in relation to self-deception, through the example of academic impostordom.

Originality and value – The paper critically explores the limitations of SI and dramaturgy for understanding more intimate forms of deception, while arguing that Simmelian ideas can be usefully applied to augment the theories and compensate for these effects.

Brand online social networking (BOSN) is a novel marketing phenomenon in which companies initiate and cultivate relationships with their customers through online social networking (OSN) sites. Because of its openness to the public, BOSN is distinct from a traditional brand community. This study aims to explore patterns and schemes of individuals’ BOSN based on the sociological schemas noted in Goffman’s dramaturgical approach.

This study adopts in-depth personal interviews to uncover the full meaning of BOSN. A total of 21 Facebook brand page participants were interviewed, and the interviews were recorded digitally and transcribed verbatim, providing data for analysis. Triangulation was accomplished through examination of informants’ Facebook webpages that presented their own postings. The transcribed data were interpreted using a hermeneutic approach.

The data analysis based on the dramaturgical lens reveals four key themes: diversity in consumers’ intentionality toward BOSN social connections, their feeling of contamination of the digital self and a desire for autonomy, consumers’ roles as the actors and audiences on a brand’s BOSN stage and backstage experience and consumers’ feeling of intimacy. Findings highlight how individuals’ perceptions of audiences and the social media platform as a stage influence their performance in BOSN conjointly. These findings reveal that individuals participate in BOSN as a means of augmenting their identity.

Findings from this study advance the extant literature addressing online brand communities by exploring a novel form of brand assemblages within the context of social media. Employing a dramaturgical approach, this study identifies the distinct nature of the consumer–brand relationship in the virtual agora of OSN, which is hyperindividualistic in nature and is used to augment a sense of self.

This paper describes the home run as a dramatic offensive accomplishment in baseball linked to the five dramaturgical dimensions (act, scene, agent, agency, and purpose) defined by Burke. Such an accomplishment also pertains to two types of social pasts – categorical and crystallized – that can serve as correlates to the five dramaturgical dimensions. Owing to its dramaturgical and temporal significance, the home run symbolizes a celebrated sign of prowess that contributes to a home run hitter's or slugger's rarified status. Further, as a dramaturgical moment, the home run calls forth specified responses (especially on the part of announcers) that contribute to its distinctive meaning in the game.

The paper aims to investigate accounting's role as a mediating instrument between the tensions of creativity and control within the price competitive world of the fashion chain store.

The paper employs a case study approach, gathering interview data from key members within a UK fashion chain, and uses Goffman's work on impression management to inform its theoretical argumentation.

Drawing on Goffman, the paper considers the roles adopted by organizational actors within fashion retailing and the actions they pursue in order to maintain a team performance. The authors suggest that accounting, as a form of stage prop, helps to sustain this team impression by mediating between the creativity and control concerns inherent in fashion design. In the process, they also gain some understanding of the use of accounting by actors beyond the confines of an organization's finance function.

Despite the magnitude of the fashion industry and its dominance in the identity construction of both individual and streetscape, the role of accounting within this domain of popular culture has remained remarkably unexplored. This paper attempts to redress such scholarly neglect. It also furthers an understanding of the relatively unexplored role of accounting as a mediating instrument within the complex dialectic of creativity and control.

The purpose of this paper is to examine the social role played by expatriate spouses during international assignments, using a dramaturgical approach.

Role expectations were investigated on the basis of an exemplary case: the spouses of diplomatic and consular employees of the Swiss Ministry of Foreign Affairs. Qualitative data were collected in interviews with 40 male and female spouses and analyzed with a “goffmanian” dramaturgical role analysis approach.

The dramaturgical analysis of the accompanying persons’ discourse highlights the different dimensions of the expatriate spouse role and how expatriate spouses construct and personalize their role. Furthermore, this analysis brings new insights into the way male spouses may support female expatriates and reveals gender differences in the enactment of the expatriate spouse role.

This study has been carried out in the diplomatic sector, which might be more structured for the spouses in terms of role expectations than in multinational companies. Further research should be carried out to better understand these expectations in the context of multinational companies.

The dramaturgical approach is a useful conceptual framework to explore the role enactment of the expatriate spouse, especially by considering the spouse role with a new distribution of gender roles. In this context, the role repertoire approach represents a promising field of investigation for research on expatriation and international mobility.