|
|
|
|
|
|
in Games People Play), everyday life is viewed as an instance of theatrical performance. This finally explains why aesthetics and criticism have always suspected that theatrical performances were instances of everyday life. It is not theater that is able to imitate life; it is social life that is designed as a continuous performance, and because of this there is a link between theater and life. |
|
|
|
|
|
|
|
|
Let me outline an elementary matrix considering eight possible types of interaction in emitting and receiving unintentional behavior as signs. Let me list under E the intention of the emitter (with + meaning that the behavior is intentional andthat it is not), under A the intentionality or the unintentionality of the reaction of the addressee, and under I the intention that the addressee attributes (or does not attribute) to the emitter: |
|
|
|
|
|
|
|
|
Case 1: An actor hobbles along, pretending to be a lame person. The addressee understands that he is doing it voluntarily. |
|
|
|
|
|
|
|
|
Case 2: I simulate a limp in order to make the addressee believe that I am lame. The addressee consciously receives this piece of information, believing that my behavior is unintentional. This represents the typical case of successful simulation. |
|
|
|
|
|
|
|
|
Cases 3 and 4: In order to get rid of a boring visitor, I drum on the desk with my fingers to express nervous tension. The addressee receives this as a subliminal stimulus that irritates him; he is unable to attribute to me either intentionality or unintentionality, although later he might (or might not) realize what happened and attribute plus or minus intentionality to my act. |
|
|
|
|
|
|
|
|
Cases 5 and 6: Being bored by the same visitor, I unintentionally drum with my fingers. The visitor realizes the situation and attributes plus or minus intention to me. |
|
|
|
|
|