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This article examines personal performances of vicarious trauma (VT) related to the Ocean Ranger Disaster. It investigates the extent to which the self is at stake in passionate storytelling about tragic consequences of extreme work.

Dramaturgical concepts of self-presentation and impression management are used as a qualitative lens to provide an alternative view of published trauma stories arising from emotional research interviews.

The catastrophic disaster created secondary traumatization for families and friends of extreme workers lost at sea. This article shows that research interviews of these disaster survivors are opportunities for participants to engage in dramatic storytelling. The paper also reflects on related (problematic) storytelling by the trauma researcher.

The article provides a theory illustration using dramaturgy as an alternative theoretical perspective to document previously under-appreciated aspects of the Ocean Ranger case. The discussion causes us to think about research interviews in a way that past research would not normally suggest.

The Ocean Ranger Disaster continues to be a remarkable source of sorrow for the people of Newfoundland. This research provides a needed contrast to the numerous positivist, and overwhelmingly technological, studies of the disaster.

The research tradition of dramaturgy is a useful lens to apply to the expanding field of trauma studies. VT is rarely a subject of direct discussion in the management and organization studies (MOS) literature. This paper is among the first to consider storytelling interviews from a VT perspective.

The purpose of this paper is to develop and apply Goffman's dramaturgical perspective to the study of organizations in the context of their internet presence(s), or as Goffman might have called it, internet play-acting. The paper responds to recent criticism of dramaturgy, and advocates its continuing relevance for organizational studies on the contemporary stage – the internet.

The paper studies the proposed merger of three accounting bodies in Canada using data obtained from publically available sources and employing dramaturgical techniques. Data includes documents (such as position papers, PowerPoint slides and practitioner journal articles). Particular attention was paid to sources of data from the internet such as YouTube videos, web sites, on-line media stories and chat from discussion boards.

The paper concludes that the criticisms of dramaturgy are overstated, and that dramaturgy enables robust recovery of complex organizational stories providing insights into how and why individual behaviour unfolds in organizations.

The paper is directed to qualitative researchers working in the interpretive tradition. It engages with the recent discussion in the literature which considers the significance of dramaturgy as a useful methodology to understand the emergence of behaviour and action, and how internet activities unfold in such a powerful and ubiquitous communication medium.

Electric cooperatives may be seen as an alternative form of organizing in the shadow of investor-owned utilities. They are presumed able to meet financial challenges while simultaneously honoring cooperative principles of member-owners. This paper aims to investigate such a balancing act and conceptualize “key performance indicators” (KPIs) as a dramatic accounting discourse.

This paper uses a dramaturgical approach to cooperative performance accounting, and claims that KPIs are a simplification of a complex and shifting reality which they also socially construct. Data were gathered from annual financial reports and websites of rural electric cooperatives along with semi-structured interviews conducted with senior cooperative officials.

The cooperatives in this case study reported a huge number of KPIs. However, this paper reveals that the performance indicators serve impression management goals and operational demands rather than reporting on fulfillment of the “Seven Cooperative Principles” that are fundamental to the cooperative movement.

Extant inquiry regarding electric cooperatives tends toward a positivist research approach and a realist worldview. This overlooks dramatic and critical possibilities of KPIs as a management construction project. Expanding beyond mainstream research, this paper calls attention to artistic production of knowledge and applies a qualitative framework to problematize accounting disclosures.

Prior KPI research has often been instrumental, looking for predictive evidence that KPIs have strategic value as a “tool” for organizations to attain competitive advantage. This paper introduces the notion that performance measures are theatrical, and applies this to rural electric cooperatives, an industry mostly ignored in the academic literature.

To illuminate the experience of working with students using the innovative pedagogical approach of dramaturgy, this pedagogy can more effectively address systemic bias within academia.

This paper is rooted in dramaturgical theory which suggests that how a person's identity or background is being constantly reshaped by their interactions with one another and the world around them. Within a classroom setting, it applies to contexts where group activities have a required performative aspect.

The authors found that taking a dramaturgical approach can be a very effective active learning technique within a one-shot information literacy instruction context.

Creative approaches to information literacy instruction often remain untried, and the combination of this work and the consideration of dramaturgical theory within the framework of inclusive pedagogy is a distinct contribution to the field.

Erving Goffman has been variously interpreted as a symbolic interactionist, a structural functionalist, or an a-structural power-game theorist. However, when considering Goffman’s affiliation with the human ecology (HEC) of Robert Park and Everett Hughes, one is able to shed new light on Goffman’s relationship to the aforementioned sociological paradigms. This chapter will demonstrate that his Darwinist underpinnings and overall implicit evolutionary perspective allowed him to develop a dramaturgical theory that explicates how actors are able to understand, predict, anticipate, accommodate to, and influence others while pursuing one’s own or own group’s interests, through one or more of role “taking,” “playing,” and “making.” Furthermore, Goffman elaborates upon Park’s use of dramaturgy, following him in making more room for competition and inequalities in status and power, and offering new dimensions and categories for specifying when and why different adaptive strategies will be used, within different types and degrees of accommodation. Ecological dramaturgy is the term we give to these interdependent lines of social action within stratification contexts. Such structural concerns ultimately separate Goffman from the more subjective and less deductive elements of traditional symbolic interactionist thought. We argue that Goffman’s much neglected ecological and evolutionary-minded approach to role-taking and its inspired analysis of competitive interactive processes provide a missing link in better understanding his complicated intellectual heritage.

The purpose of this paper is to examine Czech traditions of outdoor games and sports, turistika activities and education in nature programmes, which have continued to develop during periods of oppression and provided opportunities to preserve the Czech culture.

A review of the historical, cultural and political context of education in nature traditions in Czech was proposed.

Late 19th century organisations such as the Turistický klub and Sokol were instrumental in developing a range of indigenous turistika activities involving active movement. The early 20th century influences were the Czech scouting movement, summer camps and Woodcraft. Charles University provided the first tertiary outdoor educational programmes in Prague in the 1950s. Their foundation course “Turistika and Outdoor Sports” is still compulsory for all students studying physical education and sport. Turistika activities and outdoor sports and games continued to be developed throughout the liberalization of the socialist regime in the 1960s.

Following the Prague Spring in 1968, and under the guise of the Socialist Youth Union organization, new experimental forms of outdoor education emerged.

Since the Velvet Revolution in 1989 organisations have reconnected with Czech outdoor traditions that flourished before 1948 and other organisations have developed education in nature programs. The commercial sphere, which did not exist before 1989, has now been established in the outdoor area. However, traditional participation in turistika activities has been impacted by other external motivations as a broader range of opportunities have become available and accepted, and tourism outside of Czech and Europe has become increasingly popular and accessible.

The originality of this paper is to provide an overview of Czech political and cultural history and how it has shaped people's relationship, particularly children and youth, with the outdoors.

The purpose of this paper is to examine a case of sham compliance performance reporting through the lens of Goffman’s dramaturgy to reveal its dramaturgical structure. It makes a methodological contribution to comprehending “lived experience” accounts of project work, and adds knowledge concerning the behind-the-scenes motivators to sham behaviour in project work.

Using an ethnographic lived experience account, an aspect of project work is reconceptualised as a collection of dramaturgical scenes. These scenes disclose issues beyond the bounds of the traditional project management discourse, and increase knowledge and appreciation of sham and performative behaviour in project work.

Sham progress reporting can emerge in an environment where senior management’s ignorance of project work creates unworkable binds for project staff. Moreover, the sham behaviour succeeds at its objective because senior management are vulnerable to false impressions. This situation raises ethical issues for those involved, and creates an overhead in dealing with the reality of project work.

Limitations to this study are due to the inherent nature of the ethnographic method, where it is difficult to recruit willing participants, particularly in terms of sham behaviour cases. This study has implications for research on sham and performativity behaviour in project work, as studies can benefit from the dramaturgical analysis and Goffmanesque scene illustration techniques that help give focus to particular aspects of social performance, and remove complexity from the narrative.

The research provides practitioners with a way of discussing superfluous compliance process using additional lived experience vocabulary. This could reduce the undue pressure to behave unethically, and reduce the burden to create the extra impression management work.

This study brings a voice to sham behaviour in project work. Continued ignorance of sham behaviour results in unnecessary work and unprofitable projects. Individuals could pay a price in terms of stress and well-being, not discussed.

In this chapter I attempt to merge Athens’ conception of domination as a complex interactionist concept with Goffman’s notion of demeanor and deference as lynchpins of dramaturgical analysis. I ground the merger in an analysis of metaphorical duel between a superordinate and subordinate in the TV show Mad Men. The examination of this metaphorical dual also implies a connection between a radical interactionism as defined by Athens and a radical dramaturgy informed by Athens’ conception of domination. In particular, I propose an examination of civil domination within institutionalized settings in which use of shared pasts and concomitant acts of demeanor and deference enhance the construction of domination between superordinates and subordinates. The fictional representation of a metaphorical duel in the television show Mad Men depicts a struggle for control in which the superordinate demands that a willful subordinate sign a contract which will bind the subordinate to a particular place for an extended period of time. The examination of events leading to signing reveals a complex weave of social acts that combines the force of domination with the artistry of demeanor and deference.